Today’s Track: SPRINTS – ‘Up and Comer’

January 9, 2024 — Leave a comment

Jacob to Planet Earth. Surprisingly, this is not a false drill. I respond with a new post!

It gives me – Jacob Braybrooke – great pleasure to wish you a very happy new year as I have finally returned to address you as the writer of One Track At A Time, a website that was previously a diary of discovery when it came to finding new music and exposing the dynamic duo (known as your eyes and ears) to a range of unique bands that I would never wish to fly under your radar otherwise. If you are following the blog and, of course, reading this – I want to say a huge thank you. The main reason why I’ve been on hiatus for so long is the ‘D’ word – and I’m not talking about ‘Drums’ or ‘Drill & Bass’, or whatever basic innuendo that your mind conjures up, but the ‘D’ that worms into your brain and lies to you. Telling you about your inadequacy and lack of worth. Conveniently timed at a period where I was leaving the ‘Cocoon’ known as university life. I began working a stop-gap job in retail and I’m accepting that I’m becoming older and that, to be honest, I absolutely hate said stop-gap job. Therefore, I’ve decided to pick myself up off the canvas and search for career opportunities in the music industry. Although, however armed with excitement and nostalgia that I am to be writing about a fantastic new band once again that I am, I have to face the facts that my writing is very rusty now. Therefore, I’ve decided to start posting again. Not everyday – maintaining my own radio show, job applications, stop-gap job and writing every single day, like I used to back in the peak day, is going to be a little overwhelming. As a result of this, I will simply post a few times over the upcoming weeks, maybe not even publicise it so much, treat you like the old friend that you are and sharpen my skills for the mountain of impending cover letters and personal statements that are inevitably on my way while creating a platform for emerging artists to thrive because my mission, as an individual, is to combat the generic that you hear everywhere from the mainstream media trying to mass market. It’s been about that all along not just holding the fort for a company solely interested in profit.

In my first comeback post of 2024 – although ‘Love Myself’ by Hailee Steinfeld or ‘Fight Song’ by Rachel Platten’ may be a little more fitting of my current mindset – I present to you the Dublin-based indie punk-rock band who are called SPRINTS. It’s always difficult to find new music in the dustbin grounds of January, but these Clash-supported rockers are taking the alternative rock scene in the UK by storm all of a sudden. They were formed in 2019 when they went to see Savages and they were inspired by how deaf the gig was slowly making them. This past weekend, the 4-piece released their debut studio album ‘Letter To Self’ to positive reviews by The Guardian, DIY, Dork and Loud & Quiet. Bolstered by powerfully intimate tracks which explore the self-image of frontwoman Karla Chubb as an independent Punk pioneer of the new wave of futuristic Post-Punk acts in the UK, it’s definitely one that appeals to fans of Paramore and Catatonia. Check out the single that says it all, ‘Up and Comer’, below.

“I understand that women should have access to abortion, and I understand that mental health services are not adequate to stop people from committing suicide, so yeah, I don’t know exactly how much money is being spent on it but I don’t need to in order to tell you that it’s not enough“, Karla passionately writes in the band’s bio on the City Slang Records website, adding, “It’s just a class barrier to make people feel like, if they’re not educated enough, then they can’t be involved in the conversation. But you don’t have to be Usain Bolt to run a race, and you don’t have to understand the theory of everything to understand that, morally, someone’s an asshole.” to her speech on what inspires the political aspects of her band’s songwriting on their label’s page.

These themes of how mental health affects feminimity are abundantly clear on ‘Up and Comer’ – today’s track – which begins with a barrelling power-pop guitar riff that steadily builds to create a crescendo of anger when the bass and drums kick in. “I swim the seas between paranoia and disbelief/I reach the surface but the air is hard to breathe” and “Wear a smile like it’s a runner/Your despise like a badge of honour”. she croons, as the swelling guitar chords and the upbeat yet controlled drum beats push and pull the rhythm. There’s a seething quality to the mood of the track, where the rage boils like a kettle as the chorus kicks in and gently retreats as the verses appear. The pace is smooth and clear, however, with the rhythm retreating at a more subtle rate than you may expect. It keeps the fiesty emotion of the track in relevance but it allows the chorus to stand out by increasing the intensity that is maintained to a lesser degree of abrasion. I love the lyrics of the chorus too, where Karla croons, “They say she’s good for an up and comer”, in response to how she feels patronised by those who are commenting on her level of prominence as an emerging artist despite feeling that she’s as experienced as those other artists who have already made an impact. Overall, ‘Up and Comer’ is an effective Punk tune that sounds accessible and catchy, but they personally establishe a truthful quality that leans into the aggressive edge of the quartet’s sound. In this case of finding success on the long and winding road of sustaining yourself as an indie musician, it’s easy to see why the press have quickly encouraged a SPRINT and not a marathon for this promising band.

That’s all for now! I hugely appreciate your time and attention that you have given the post that you have just read. The next one won’t take 10 months to complete – you’ll be pleased to know. I currently run a weekly podcast titled Eclectic & Electric that fulfills a similar purpose of challenging the “generic” that the powers be love so deeply which you can find here: https://www.mixcloud.com/jacob-braybrooke/eclectic-electric-first-show-of-2024-january-8th-2024-spotted-in-ely-radio/. You can also find me on the social media accounts below to stay in touch and discover new music.

X (Formerly Twitter): https://twitter.com/JacobBraybrook2

Instagram: https://www.instagram.com/jbraybrookerecords/?hl=en

Today’s Track: Ciel – ‘Fine Everything’

May 3, 2022 — Leave a comment

Pictured: Michelle Hindriks (Lead Vocals/Bass Guitar), Jorge Bella Jimenez (Lead Guitar/Rhythm Guitar/Backing Vocals) and Tim Spencer (Drums/Percussion/Occasional Backing Vocals) (2022) (Photo Credit: ReadDork.com/PR)

Good Morning to you! This is Jacob Braybrooke, and the time has come for you to perk up your ears in preparation 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! If I told you on the radio that I was going to play you a new track by an artist with a name (Ciel – Pronounced: Ceal) just like that, you’d be forgiven for expecting to hear some kind of 00’s-leaning Pop, R&B and Soul record. However, you’d be confusing them for Seal. On the other hand, Ciel are an emerging indie rock trio led by vocalist-guitarist Michelle Hindriks drawing from diverse influences such as Sheogaze, Dream-Pop, Prog-Rock, 90’s Grunge, Symphonic Rock and Psychedelic Rock. With members hailing from The Netherlands and Spain in addition to the UK, Ciel have recently captured my imagination when ‘Fine Everything’ gained positive reviews from the panel on last week’s episode of Steve Lamacq’s Roundtable on BBC Radio 6 Music. Ciel have also been praised by sites like KEXP, WFW, BBC Introducing, Amazing Radio, Clash Magazine, Earmilk and Under The Radar too. In recent times, Ciel have been preparing for their upcoming EP by working with Steven Ansell (of Blood Red Shoes fame) as their producer and mixer. The trio have also been supporting She Drew The Gun, Sasami and Penelope Isles across sold out live shows in London and Brighton (Where they are currently based) too. I also read that Ciel have been long-listed for this year’s Emerging Talent Competition at Glastonbury Festival as well, which should continue to shine a spotlight on the band as a valuable commodity within the music industry. On that note, let’s check out their fresh new single, ‘Fine Everything’, below.

Talking passionately about the melodic new offering of Shoegaze-inflicted Indie Rock, frontwoman Michelle Hindriks notes, “It’s about coming of age, and not really knowing how to navigate life. The doubts and difficulties that involve life-changing decisions, yet maybe not being ready growing up, when all your friends are. I was thinking of how so many people lost touch with their inner gut feeling and instincts, and how all the possibilities in life can feel so overwhelming sometimes. It’s almost kind of easier to stay oblivious to it instead of digging deep into your mind“, in her own words. The single oozes charisma with an insistent groove created by the fuzzy walls of anthemic guitar sound and driving drums from the get-go, while lyrics like “Ignorant to the shame, It evoked/Threatened by the drought, caught up in doubt” and “Don’t you know, I am longing for/To be told how to live my life” break down the decision making processes that we all face, punctuated by the Shoegaze guitars and the angsty, classic Punk attitude that gives the tempo a more brooding personality. They unleash a fun and chaotic guitar solo towards the end, while the chorus introduces a more accessible Pop sensibility into the mix due to its rhythmic pulse, while the verses feel more gritty and determined in texture. There’s some hook-filled melodies in here, but it retains a sharp Post-Punk feel overall because the Brighton-based band aren’t afraid to hit you with a distorted wall of sound, but they tie it in with a melodic style and some familiar Pop-driven songwriting. It doesn’t feel shrouded in borderline territory between Dream-Pop and Post-Rock, but it instead feels like it has a more direct punch to its sound that makes it feel memorable when it digs into your brain. It works nicely as a companion for the lyrics, which are all about tacking the uncertainty of thoughts that linger in your brain about your future as a young adult and how these unsettling noises in our minds invade our lifestyle, backed by an edgy Garage feel that resonates with the modern indie production clearly. While it is nothing too innovative and I’ve probably heard most of their ideas before, it is still a solid track that is very catchy and noisy, in the best way possible, that still leaves me thirsting for more content from Ciel soon. It is not re-inventing the wheel, but the wheel keeps spinning without fault.

Pictured: Cover Artwork for ‘Fine Everything’ (Single) (Released on March 24th, 2022) (via Self-Released)

That’s all for me today, but I hope that your day turns out to go just fine. I’ll be back for a new edition of ‘Way Back Wednesdays’ tomorrow where will be remembering the work of a Lancashire-born R&B and Pop singer who was a member of groups like Shotgun Express, The She Trinity, Sinbad and Gambler in the 1970’s, and she has been described as “undeservedly neglected” by Bruce Eder, a respected writer for AllMusic.

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Scuzz Sundays: Papa Roach – ‘Between Angels and Insects’

May 1, 2022 — Leave a comment

Pictured: Cover Artwork for ‘Infest’ (LP/Album) (Released on April 25th, 2000) (via DreamWorks/NPG Studios)

Good Morning to you! This is Jacob Braybrooke, and the time has come for us to pay a visit to one of the ghosts of Pop-Punk’s past with a new weekly edition of ‘Scuzz Sundays’ on the blog, given how it’s always my day-to-day pleasure to write up about a different piece of music every day! In the past few weeks, we’ve tied our weekly throwbacks into some form of current affairs, such as this autumn’s re-union gig for Hard-Fi or the almost exact 20th anniversary of The Caesar’s ‘Love For The Streets’ album, and we’re continuing the same trend today. The Vacaville-formed Alternative Metal band Papa Roach released their eleventh studio album, ‘Ego Trip’, on April 8th to a fairly positive reception from critics. Therefore, we’re going to remind ourselves of one of their classic tracks today to fit the theme of ‘Scuzz Sundays’. Released in 2000 as the third single taken from their Triple Platinum-certified second LP ‘Infest’, ‘Between Angels and Insects’ reached #17 on the UK Singles Charts and it enjoyed a nice run on the radio airplay circuit in late Spring of 2001 after the music video had released. The album itself ventured into the buzz of the Nu-Metal and Rap-Rock genre elements of the time, and it debuted at #5 on the US Billboard 200 chart, additionally earning Papa Roach a Grammy Awards nomination for ‘Best New Artist’ to reflect this success. Find the Joseph Khan-directed video for ‘Between Angels and Insects’ below.

In a SongFacts interview with Papa Roach’s Tobin Esperance, it was revealed how the track took inspiration from ‘Fight Club’, as he noted, “The lyric in the bridge section was taken from the conversation that Brad Pitt was having with Edward Norton on the airplane“, in the piece. ‘Between Angels and Insects’ remains a live favourite for Papa Roach too, as Esperance also told SongFacts it was “Definitely still a really fun song to play live. That song definitely goes off“, in 2011 as well. The title of ‘Between Angels and Insects’ doesn’t appear lyrically, but there’s an implication that human morality sits between angel and insect – the divine and the primitive – in other words. Lyrics like “There’s no money, there’s no possession, only obsession” and “You can find a conclusion, lifestyle and obsession/Diamond rings get you nothing but a life long lesson” are centered around greed, implying that money just can’t solve your deeper psychological issues, with the verses and the chorus commenting on how the base desires like possessions bring us further from angels and closer to insects. The steady drums, the Rap-Rock rhythms of the vocals and the thunderous guitar riffs, with a heavy but largely melodic Pop-Punk skew, feel rather typical of the time and the instrumentation does not feel different to many of the Grunge-inflicted rock songs of the album’s era, but it feels quite nostalgic twenty years later and it can remind you of how your life may have been at the time. While the chords feel rather unoriginal, there is still some decently thought through commentary here on how we value our possessions and how striving for things we feel are positive can lead to negative impacts like addiction, and these themes never really overstay their welcome despite seeming quite universal. The band’s accompanying melodies for the lead vocals push the metaphorical boat into stormier seas, while the main bulk of the instrumentation adds just enough differentiation from other Papa Roach tracks such as ‘Last Resort’ or ‘…To Be Loved’ without affecting the formula that has been laid out for it. Overall, I don’t feel this is a masterpiece, as the lyrics and progression feel a little bland and generic, but there are elements of greatness here. The songwriting works well, and the instrumentation is solid. This is probably not a Last Resort for your Papa Roach fix.

Pictured: Papa Roach performing ‘Last Resort’ at the Reading & Leeds Music Festival (2014) (Photo via BBC Music)

You can check out some of my previously published Papa Roach-related posts below:

‘Last Resort’ (2020) – https://onetrackatatime.home.blog/2020/07/26/scuzz-sundays-papa-roach-last-resort/

‘…To Be Loved‘ (2021) – https://onetrackatatime.home.blog/2021/11/21/scuzz-sundays-papa-roach-to-be-loved/

Pictured: Cover Art for ‘The Paramour Sessions’ (LP) (Released on September 12th, 2006) (via Geffen Records)

That brings us to the end of the page for another day! Thank you for joining me, and we’ll be kicking off a new week’s worth of posts as well as the new month’s worth of posts – you lucky reader. It begins with a fun and chilled summer-themed new single by a Norwegian singer-songwriter who has released eight studio albums and created his self-titled full-length record, released in 2011, in a short yet intense time period of three weeks. The single in question features the talents of Japanese Pop project CHAI.

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Scuzz Sundays: Alice In Chains – ‘Them Bones’

April 10, 2022 — Leave a comment

Pictured: Alice In Chains’ Layne Stayley before his passing (2002) (Photo Credit: Frank Micelotta/Getty Images)

Good Morning to you! This is Jacob Braybrooke, and the time has arrived for me to pay a visit to one of the ghosts of Pop-Punk’s past for another weekly entry of ‘Scuzz Sundays’ on the blog, because it’s always my day-to-day pleasure to write up about a different piece of music every day! Having sold over 30 million records worldwide, scored 18 top 10 entries on Billboard’s Mainstream Rock Tracks chart in the US and named as the 15th greatest live band by Hit Parader in their time, Alice In Chains were a visceral part of the 1990’s Grunge movement who have released six studio albums together between 1990 and 2018. An aura of sadness exists within the band, however, as original lead vocalist Layne Staley passed away in 2002 due to ongoing issues with substance abuse, with co-lead vocalist and rhythm guitarist William DuVall stepping up to fill the role later. ‘Them Bones’ was a fan favourite single that reached #30 on the Alternative Airplay chart in the US. It was taken as a single from 1992’s ‘Dirt’ – the band’s second studio album – which was featured on the soundtrack of Cameron Crowe’s 1992 film ‘Singles’ and, commercially, the record has been certified four-times Platinum by the RIAA and sold over five million units. The band also released their fourth studio album – ‘Black Gives Way To Blue’ on the 17th anniversary of ‘Dirt’ on September 29, 2009 – which is a great little tribute. Check out ‘Them Bones’ below.

Sharpening it’s blade for tackling emotionally charged themes like depression, anti-social behavior, relationships, drug addiction, anger and conflict throughout it’s near-hour run time, 1992’s ‘Dirt’ has aged rather well and it has been included in the 2005 version of the ‘1001 Albums You Need To Hear Before You Die’ book. Upon release, it was nominated for the Grammy Award for ‘Best Hard Rock Performance’ and, in retrospect, Loudwire has named it as one of the best Metal albums of the 90’s. ‘Them Bones’ was classic Alice In Chains, starting off with some portentous guitar riffs and jaunty sing-a-long vocal hooks before breaking into a chorus which feels like a lighter relief to the distorted chords of the verses. ‘Them Bones’ was built on a central guitar riff that was written in 7/8, and a friction remains between the very grounded lyricism and the chromatic riffing against the sustained long notes, with the open fourth vocal harmonies being a staple of Staley’s vocal work throughout his time and influence in the band. Lyrics like “I believe them bones are me/Some say we’re born into the grave” have a sense of prescience and bleak tragedy to them, while later lyrics like “Dust rise right on over my time/Empty fossil of the new scene” are given a lightly uplifting sense of black humor, where the absurdity of realizing that you’re going to die one day, no matter what, rings true. Staley commands his presence on the track with a nasal tone which seems to shift tones as he keeps holding the voice for longer and longer, but ruminating on your death is never truly considered to feel like an outlandish prediction due to the gritty textures of the guitars. It is mostly about our morality as human beings and how the thought that your knowledge or experiences can simply end when you’re gone for good is important, as opposed to lingering solely on how we’re all going to pass away eventually. It may not be everybody’s cup of tea due to it’s bleak theme, although it is not necessarily executed as such by Staley and the band, and the track ends just a little too abruptly for my personal liking. However, it seems like it has aged pretty well because the lyrics still have a relevance and the Glam Metal influences still seem relatively fresh. Rest in peace – Layne Staley.

Pictured: Cover Artwork for ‘Dirt’ (LP/Album) (Released on September 29th, 1992) (via Columbia Records)

Thank you for checking out my latest post on the blog, as your support always means so much. I will be back tomorrow to review the latest single by a Statford-born singer-songwriter who used to be the keyboardist of Mercury Prize-winning New Rave band Klaxons and he is married to the actress Keira Knightley, of all people. He previously fronted Shock Machine and his new Soulwax-produced album will be released in July.

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Scuzz Sundays: Foo Fighters – ‘Everlong’

April 3, 2022 — Leave a comment

https://youtu.be/4j0wVOcyd3g

Pictured: Dave Grohl (Lead Vocals/Rhythm Guitar), Pat Smear (Lead Guitar), Nate Mendel (Bass Guitar), Chris Shiflett (Backing Guitar/Backing Vocals), Rami Jaffee (Piano, Keyboard) and Taylor Hawkins (Drums/Percussion/Occasional Backing Vocals) (in 2017) (Photo Credit: PR/Brantley Guttierez)

Good Morning to you! This is Jacob Braybrooke, and the time has come for me to get writing up for the 968th time (That means we’ll soon be coming up to my 1000th post on the site) for ‘Scuzz Sundays’ with 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! It is always interesting to write about music from a famous band who have an absolutely gigantic fanbase like Foo Fighters, but it’s also very saddening that it’s happened due to some very unfortunate circumstances this time around. In case you’ve been living under a rock for the last two weeks, their beloved drummer Taylor Hawkins has died at the age of 50, and the band have also cancelled their performance at the Grammy Awards and the rest of their tour dates to allow for a time of somber reflection instead. How they move forward as a band is unclear, but what is clear, is the influence and the gifts that Hawkins bought to the world. Hawkins was born in Fort Worth, Texas in 1972 and he attended school with Yes vocalist Jon Davison, who became a close friend of Hawkins, and the two friends graduated from Lagune Beach High School together in 1990. Hawkins went on to play in experimental bands like Sylvia and Sass Jordan on the Orange County rock scene, before he was scouted by Canadian 90’s star Alanis Morissette, and he appeared in a handful of her music videos. Hawkins joined Foo Fighters in 1996, when Dave Grohl fell out with previous drummer William Goldsmith while they were in Seattle to record their second album with Gil Norton as their producer, and Grohl was suprised to learn that he wanted to voluntarily join Foo Fighters because he wanted to be a drummer in a rock band rather than a touring drummer for a solo artist. Hawkins went on to record eight albums with Foo Fighters, as well as pursue many side projects including The Birds Of Satan, Chevy Metal and The Coattail Riders, and he has performed a number of key vocal and songwriting duties as part of Foo Fighters too. ‘Everlong’ is a very important part of the band’s legacy now, and I’ve chosen to cover the track because it was the last song that he had played live with the rest of Foo Fighters in a live performance at the Lollapalooza Festival in Argentina on March 20th, 2022. You can see the live video above or you can remind yourself of the original music video below.

“Our hearts go out to his wife, children and family and we ask that their privacy be treated with the upmost respect in this unimaginably difficult tine”, Foo Fighters share about Hawkins’ death. It is very fitting and poignant how their performance of ‘Everlong’ at Lollapalooza ended, as Hawkins tossed his drum sticks out to the crowd and took a bow with the rest of his band before a hearty embrace with Grohl, and so it is very tragic for us to know what would unfold just five days later now. Commenting on his relationship with Hawkins in an interview with Rolling Stone published last year, Grohl said, “I think Taylor really under-estimates his importance in this band. Maybe because he’s not the original drummer, but, my god, what would we be without Taylor Hawkins? Could you imagine? It would be a completely different thing”, in celebration of his service to the group. A single originally recorded for their second album – ‘The Colour And The Shape’ – in 1997, ‘Everlong’ peaked within the top three of the US Billboard Alternative Songs chart and it was written about Grohl’s romance with Louise Post from the band Veruca Salt. Rather than developing ‘Everlong’ like a Grunge off-shoot as expected by the press, Grohl wanted it to feel more sentimental and incorporate Pop sensibilities into the sound, and he did so with gripping and upbeat lyrics like “Breathe out, so I can breathe you in, Hold you in” and “Come down, and waste away with me, Down with me, slow how you wanted it to be” that encourage intimacy with a special person that hasn’t been experienced for a long while by our narrator, while lyrics in the chorus like “If everything could ever feel this real forever/If anything could ever be this good again” touch upon the realization that you have fallen in love after doubting the fact that you could ever again for a few years prior. The themes are simple, but the music thoroughly conveys the emotional qualities behind the track as the vocals dive between subdued and atmospheric, while the simple chord structure is catchy and the softer parts are calming, while the guitar riff is distinctive enough for the track to feel fresh in it’s heyday and the tones are honest and cheerful without coming across as overly twee or gushy. Overall, it is a natural radio hit and a stadium crowd-pleaser that reminds us all to grasp wonder despite any practical or intellectual concerns and relishing the feeling of joy or harmony without not sentimentally rejecting it. It brings the same sense of happiness that Hawkins clearly brought to this band over the decades that he played with them.

Pictured: Cover Artwork for ‘The Colour And The Shape’ (LP) (Released on May 20th, 1997) (via Capitol Records)

Given how Foo Fighters are such a beloved band who have left a large blueprint on our culture, it is only natural that we have talked about them in the older posts below.

‘Monkey Wrench’ (1997) – https://onetrackatatime.home.blog/2020/10/18/scuzz-sundays-foo-fighters-monkey-wrench/

‘Waiting On A War’ (2021) – https://onetrackatatime.home.blog/2021/02/05/new-album-release-friday-foo-fighters-waiting-on-a-war/

Pictured: Cover Artwork for ‘Medicine At Midnight’ (LP) (Released on February 5, 2021) (via RCA Records)

That’s all for now, and my thoughts and prayers go out to all of Hawkins’ loved ones who have been deeply affected over the past two weeks. Thank you for checking out what I had to share on the site today, and I’ll be back tomorrow to kick off the new week’s worth of regular blog posts with a summer-friendly new single by a Grammy and MOBO awards-nominated London-based Afrobeat duo who pitch their sound as “Jazztronica”, and the title track of their new album was built from a Fela Kuti sample.

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Scuzz Sundays: The Pretty Reckless – ‘Make Me Wanna Die’

March 13, 2022 — Leave a comment

Pictured: Taylor Momsen (Lead Vocals/Rhythm Guitar), Ben Phillips (Lead Guitar/Backing Vocals), Jamie Perkins (Drums/Percussion) and Mark Damon (Bass Guitar/Acoustic Guitar) (2010) (Photo Credit: Music Hub – Fandom)

Good Morning to you! This is Jacob Braybrooke, and it is time for me to offer up another Scuzz Sundays post that you would probably not be prepared ‘to die for’, since it’s always my day-to-day pleasure to write up about a different piece of music every day! One of the most commercially successful female-led bands of the Mascara-dripping 00’s going through the 2010’s was The Pretty Reckless, who are still active regularly today. Led by Taylor Momsen, who was previously known for being a teen TV star in productions like ‘Gossip Girl’ and ‘Spy Kids 2: The Island Of Lost Dreams’ – as well as playing the child role of Cindy Lou Who in the Jim Carrey version of ‘How The Grinch Stole Christmas’ in 2000, the band have topped the US Album charts with albums like ‘Going To Hell’ and ‘Who You Selling For?’ and topped the US Rock Charts with fairly well-known singles like ‘Heaven Knows’ and ‘Messed Up World’. Momsen’s misfits last released ‘Death By Rock and Roll’ last year, which found her getting the chance to collaborate with legendary Rage Against The Machine guitarist Tom Morello for a track. ‘Make Me Wanna Die’ is instantly recognizable if you have seen the edgy comic book movie ‘Kick Ass’, which helped to bring actors like Chloe Grace Moretz and Aaron Taylor-Johnston some of their Hollywood stardom throughout the years since 2010. It was produced by Kato Khandwala, and it was the first track to be written for their debut album, 2010’s ‘Light Me Up’. It reached #16 on the UK Singles Chart, and it was initially described as a tragic love song inspired by Romeo and Juliet by Momsen.

‘Make Me Wanna Die’ is the first track that The Pretty Reckless wrote together as an ensemble, and it was based on a fictional story they created where the rough story of ‘Make Me Wanna Die’ tells the tale of a girl with a supernatural lover – a narrative which the vampire-loving Twi-hards of the 2010’s would have also loved – and her desires to be transformed into ‘one of them’ so they can both stay in love together, according to the Genius website. Starting off with some filter-like Mellotron flutes, Momsen sets the stage for her dark tale of lust and loss with her spoken-sung refrains of “Never was a girl with a wicked mind/But everything looks better when the sun goes down” and “I had everything/Opportunities for eternity/And I could belong to the night” that develop a brief backstory for her character. It’s nothing that feels rich in motive or Oscar-worthy performance, but it gets the job done. The verses represent a mix of angsty Grunge-enhanced Pop and stop-and-start Desert Rock, where the melodramatic lead guitar riffs are separated by short gaps and the jagged Bass guitar riffs complement the ‘Broken’ feel of the single’s emotional qualities. The chorus kicks in, with hooks like “Everything you love/Will burn up in the night” and “Every time I look inside your eyes/You make me wanna die” floating seemlessly above the Pop-Punk production. There’s also a little bridge where some overtly emotional Strings come in and there’s a short assortment of backing vocals that feel a little cheesy – for lack of a better term – but they provide some more variety to the track and ensure that it’s effect doesn’t ware so thin. Overall, ‘Make Me Wanna Die’ is a robust reminder of the days where guilty pleasure monster flicks like ‘Underworld’ and ‘Resident Evil’ were gaining some decent box office takings in the 00’s, as the lyrics complement the angsty yet dark tone of the creature features nicely and the looped percussion adds some little bells and whistles to the production. It feels a little bit overly theatrical at points for me, but it feels like a lot of fun nevertheless. It’s very inoffensive and harmless, although it wasn’t going to earn awards for innovation.

Pictured: Cover Artwork for ‘Light Me Up’ (LP/Album) (Released on August 27th, 2010) (via Interscope Records)

If that collaboration between Momsen and Morello sounds good to you, it is very convenient that it was actually covered on the blog prior to release. Check it out here:

‘And So It Went’ (feat. Tom Morello) – https://onetrackatatime.home.blog/2021/03/06/todays-track-the-pretty-reckless-feat-tom-morello-and-so-it-went/

Pictured: Cover Artwork for ‘Death By Rock and Roll’ (LP) (Released on February 12, 2021) (via Fearless Records)

That brings us to the end of another entry of ‘Scuzz Sundays’ on the blog. Thank you for showing your interest in the site today as your continued support is always highly appreciated – and I’ll be back tomorrow to give you a taste of the latest track from a Manchester-based Art Pop band who have covered tracks by The Prodigy and Disclosure and they have gained support from sources as varied as ITV Granada and The Guardian. They are probably best known for singles like ‘Can’t Stop’ and ‘Nobody Scared’ that have been receiving daytime airplay from the BBC Radio 6 Music playlist.

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New Album Release Fridays: The Mysterines – ‘Dangerous’

March 11, 2022 — Leave a comment

Good Morning to you! This is Jacob Braybrooke – and this is the time for us to pick up something for the weekend as we take an in-depth preview of one of the weekend’s most noticeably notable new album releases, because it’s always been my day-to-day pleasure to write up about a different piece of new music every day! There’s stiff competition from Dirty Projectors and Coco’s Maia Friedman, as well as rock band The Districts, this weekend – but The Mysterines have the vote of ‘Album Of The Week’ from One Track At A Time for this fine Friday of March 11th. A fair share of music publications frequently seem to assume the emerging Alternative Punk 4-piece of The Mysterines are from Liverpool, but they were actually originally formed in Merseyside. Led by vocalist/guitarist Lia Metcalfe, The Mysterines have been gaining fans all over the music and radio industry across the last couple of years and various tracks by them have each received daytime rotational airplay from BBC Radio 6 Music. They have performed at festivals as beloved as 2021’s Sound City Festival, and I’m sure there are some die-hard UK Hard Rock fans who have been desperately awaiting what’s in store for them as ‘Reeling’ – their first full-length album – finally lands on store shelves today. ‘Reeling’ was recorded in sessions that took place throughout 2021, where The Mysterines worked with Catherine Marks (Foals, The Killers, Eliza Shaddad) as their producer. The record will be supported by a string of tour dates in locations like Cambridge, Dublin, Belfast, Glasgow, Leeds and more throughout the spring. Teasing the style and direction of ‘Reeling’ when it was initially announced, Metcalfe said, “It’s a pretty ambiguous title for most people, but for me, ‘Reeling’ sums up every emotion of the album in just one word”, in the band’s press statement. On that strong note, let’s check out the final pre-release single – ‘Dangerous’ – below.

The final advance single to drum up hype for the album, Lia Metcalfe also said in a seperate statement about the visceral Alt-Rock tune, “Dangerous is about those wild cycles that life sometimes traps you in, the ones that seem desirable at first but quickly become very dangerous”, as The Mysterines’ dynamic frontwoman explains, concluding, “Whether it be with people, places, relationships – the hardest part is always letting go”, in her thoughtful and provoking press notes. ‘Dangerous’ gets off to a heated start as a slightly Folk-led opening guitar riff slowly turns sour in tone and becomes more thunderous at a brisker pace, and Metcalfe soon croons refrains like “I was willing and able/But I was caught in your jaws” and you caught me standing on the table/I saw you watching me fall” that invite you into the Post-Punk style of the single with dramatic lyricism that touches on toxicity and cyclical break-up as key themes. For the chorus, the hooks become more melodic and infectiously catchy as the simple refrain of “It’s such a danger/It’s such a dangerous thing” is given an infuriated amount of emotional weight that grinds under the relentlessly electronic-enhanced electric guitar riffs. Metcalfe’s vocal delivery has a noticeably potent and, most crucially, masculine quality to it, with the rest of the band backing up her gently husky voice by driving the beats forwards with a more standard ‘Indie’ formula of punchy guitar riffs and compact drum riffs. It is probably not the heaviest track that The Mysterines will likely present on the new record, but they have a bunch of ears that show a great knack for catchy melodies that interplay between the Pop and Punk elements of the track. ‘Dangerous’ also feels more eclectic than you may assume, given the title of the track on paper, because there’s some Grunge influences that pull from the more bombastic flair of more modern rock bands too. They were clearly influenced by Nirvana and The Strokes, and there’s a nice mixture of slightly different Rock influences being pulled together pretty neatly in ‘Dangerous’. It, perhaps, does feel like a fairly obvious choice for a radio-friendly single to promote the album as I could definitely envision ‘Dangerous’ being played on a daytime BBC Radio 1 programme as equally as on the next FIFA video game soundtrack, and so they do adhere to a more conventional structure and sound on the track more so than other examples of their music, but that’s not necessarily a bad thing as it ensures The Mysterines are keeping their ambitions broad and attaining more reach with their music to entice others to check out the full record, where the more experimental tracks can find a larger audience. There’s also a Brit-Pop styling, especially in the raw vocals and the lightly distorted guitar riffs, that can appeal to older listeners while balancing out their more off-beat tracks naturally too. Overall, The Mysterines seem primed for sturdy success on ‘Dangerous’, a solid single that feels as though it is fairly diversified while giving the more casual fans of their genre some crowd-pleasing riffs.

Pictured: Lia Metcalfe (Lead Vocals/Rhythm Guitar/Keys), George Favager (Bass Guitar/Backing Vocals), Callum Thompson (Lead Guitar/Backing Vocals) and Paul Crilly (Drums/Percussion) (2022) (Photo via WirralGlobe.co.uk)

That leaves me with little else to say other than to thank you kindly for lending a moment of your day to find out what I had to say about The Mysterines today, and I hope that you are looking forwards to their new album as much as most of their devoted fans are. I’ll be back tomorrow on the eve of ‘Scuzz Sundays’ to shine a spotlight on one of the UK’s most lively Grime artists who has just released his new LP ‘Reason To Smile’ via the major label Island Records. He has collaborated with the likes of Mahalia and Swindle, and he has received three nominations at the MOBO Awards. His ’23Winters’ EP reached #3 on the UK Rap & Hip Hop Albums Chart in 2016.

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Scuzz Sundays: Nickelback – ‘How You Remind Me’

March 6, 2022 — Leave a comment

Pictured: Cover Artwork for ‘Silver Side Up’ (LP) (Released on September 11th, 2001) (via Roadrunner Records)

Good Morning to you! This is Jacob Braybrooke, and it’s time to don some dodgy eye mascara as we revisit the music that we used to tolerate during our younger and most questionable emo phases of life for ‘Scuzz Sundays’ as we re-evaluate their quality or value in the present day, because it’s always my day-to-day pleasure to write up about a different piece of music every day! When you review the history of rock music, particularly throughout the 2000’s, the Canadian rock group of Nickelback provide a fairly interesting case. They were a punching bag for music enthusiasts, garnering almost unanimously negative reviews for their recycling of ideas and their continued relevancy in the mainstream, but they were still one of the most successful rock bands of the time when you really think about it. Their list of achievements includes enormous sales figures of over 50 million albums worldwide, five SOCAN International Achievement Awards, and a whole host of hit singles across multiple territories including ‘Rockstar’, ‘Far Away’ and ‘Photograph’ among a few others. They are also pretty active today, as they are currently working on their upcoming tenth studio album to finally follow up on 2017’s ‘Feed The Machine’. They have recently celebrated the 20th Anniversary of their fame-propelling third studio LP – 2001’s ‘Silver Side Up’ – which has been certified as Platinum eight times in Canada. The record included, arguably, their biggest hit of all – ‘How You Remind Me’ – which is a Karaoke favourite of my mother’s choice. The single’s commercial success led to their first arena tour of the UK, and, in 2009, Billboard ranked it as their best selling rock single overall. You know it already, but you can hear it for the first time in ages below.

Chad Kroeger – the lead vocalist of Nickelback – wrote ‘How You Remind Me’ as a response to a conflict with his then-girlfriend at an airport in Vancouver, where she set up shop in his basement and improvised the lyrics loudly in the hopes that she would hear him and catch the drift that he was, well, pretty angry. It makes sense considering how the guitar riffs have a nice grit to them and the pacing of ‘How You Remind Me’ has a harsher energy to it than some of Nickelback’s more melodramatic ballad work explored on the likes of ‘Far Away’ during the 00’s. The single starts off with the familiar lyric of “Never made it as a wise man/I couldn’t cut it as a poor man stealing” that Kroeger delivers in a husky voice as the laidback and casual sound of the mid-range guitars, in terms of tone and reverb, wind on up to a slightly more dissonant and aggressive style, although the instrumentation never becomes truly harsh, for lack of a more suitable term. The chorus has a rougher edge too, with rhythmic lines like “This is how you remind me, of who I really am” and “It’s not like you to say sorry/I was waiting on a different story” bordering between a spoken and a chanted delivery. The guitar riffs don’t progress a great deal, but the drums and the bass is more prominent in the chorus and increases the speed of the core melodies. There are elements of Punk and Grunge here, but they are measured and the violence of their mood is kept at a radio-friendly level. It also explores love-sickness lyrically, with fun sequences like “I’ve been wrong, I’ve been down” and “This time, I’m mistaken/For handing you a heart worth breaking” that sound assertive, but not completely outside of the realm of forgiveness or reconciliation for the dwindling relationship that Kroeger is referencing. As one of the most snobbish music critics out there – which my parents would probably tell you, believe me – I don’t mind ‘How You Remind Me’ very much. I’ll admit that the guitar riffs are a little bland, but it is a fun track that is a fun time and has it’s catchy moments. It’s not a masterpiece, but it is melodic enough and it established a few selling points for Nickelback that admittedly got recycled a little too frequently over the years, but there’s a reason why the tune was successful and I can see why Kroeger’s band would go down to the well for it as a point of reference for later work. A solid standalone single that still sounds fine today.

Pictured: Chad Kroeger (Lead Vocals/Rhythm Guitar/Chief Songwriter), Ryan Peake (Lead Guitar/Keyboard/Backing Vocals), Mike Kroeger (Bass Guitar) and Daniel Adair (Drums/Backing Vocals) (2021) (Photo Credit: Paul Bergen)

That brings us to the bottom of the page for another day! I’m going to be swiftly off now as I’m planning to see my family for two days running, but I’ll be back tomorrow to guide you through some gorgeous new experimental electronic music from an Enfield-based IDM producer who reached the top three of my ‘Best Albums Of 2021’ list with her Hyperdub-signed hit ‘Reflection’ that was also loved by Tom Ravenscroft.

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Scuzz Sundays: Avenged Sevenfold – ‘Afterlife’

February 20, 2022 — Leave a comment

Pictured: Cover Art for ‘Avenged Sevenfold’ (Self-Titled LP) (Released on October 30, 2007) (via Hopeless Records)

Good Morning to you! You’re tuned into the text of Jacob Braybrooke, as we pay a visit (Rather literally, in the case of this track’s title) to one of the ghosts of Pop-Punk past for another weekly iteration of ‘Scuzz Sundays’ on One Track At A Time, the blog where I simply write up about a different piece of music every day! Known for their eclectic Nu-Metal sound and the theatrical imagery of their promotional artwork, one heavy rock band who were hard to miss during the 2000’s and 2010’s was Avenged Sevenfold, a band who were formed in Huntington Beach, California in 1999. Still recording new material regularly today, the band have released seven studio albums of which they have sold over 8 million units worldwide, and they have even created four original tracks for the soundtracks of the ‘Call Of Duty: Black Ops’ series – for any video game lovers out there. They were also ranked as #47 on Loudwire’s list of their Top 50 Metal Bands Of All-Time in 2018. Released in 2007, ‘Afterlife’ was taken from Avenged Sevenfold’s self-titled album – that was actually their fourth studio LP – and it was their last album to feature the solid drummer ‘The Rev’ before he sadly passed away two years later during the production of 2010’s ‘Nightmare’. Give it a spin below.

The album debuted at #4 on the US Billboard 200 Album Chart and it was later included in Kerrang’s list of their “666 Albums You Must Hear Before You Die” as well as winning the Kerrang! award for Best Album in 2008. Meanwhile, the single – ‘Afterlife’ – was released with a music video that was directed by Wayne Isham, who had previously shot videos for Bon Jovi and Judas Priest. You can hear it on the ‘NHL 09’ video game soundtrack and it was voted as the best song of the new album on the band’s homepage upon its release, and so there’s absolutely no pressure for ‘Afterlife’ to hold up to quality and value in the present day, of course. It becomes clear that the lyrics are all about a man who dies at an early time and goes to heaven, but realizes that he has unfinished business to finish on Earth before his soul passes away, and we are essentially getting a soundtrack for that journey. The uptempo guitar riffs open the track immediately, with the lead guitar paving the way for the narrative to shine through ahead of a fantastic guitar solo in the final act of the structure. The lead vocals have a gear-switching flair with some sequences diving between a feeling of innocence and vengeance, and some harsher sequences that contrast the warmer lyrics with a punchy and energetic feeling. The lead-in to the chorus raises the tempo again after a mildly subdued stretch of instrumentation, where the tone of the vocals were a little more somber and pained, with some brief backing vocals and a bridge towards the main guitar solo that lays out the pacing neatly. The solo is 80’s schlock, but it’s done with a technical competence and it works well because of the track’s fast-paced nature. The more theatrical conclusion to the final act introduces some short Violin sections to the track, as the Strings signal the arrival of our protagonist to the gates of heaven and his subsequent departure to the living world as there’s still much for him to do there. It’s great that we follow a narrative of-sorts with the track, and I have to say that I rather enjoyed it. The vocals are a little cheesy at points where we cycle past the questionable accents and it veers slightly towards a 00’s radio rock commercial appeal, but I felt the guitar solo was very enjoyable and it was nice to hear Avenged Sevenfold moving away from their imitations of influences like Iron Maiden and going for a more individual direction with the story in the process. A little on-the-nose, but this was perfectly enjoyable and it has a couple of progressive ideas.

Pictured: M. Shadows (Lead Vocals/Piano/Percussion), Zacky Vengeance (Rhythm Guitar/Backing Vocals), Johnny Christ (Bass Guitar), Synster Gates (Lead Guitar) & Brooks Wackerman (Drums) (2016) (Photo by WikiCommons.org)

That’s all that I’ve got lined up for you with today’s edition of ‘Scuzz Sundays’, and I thank you very much for continuing to support the blog every day because it really means a lot to me. Normal service will be resuming again tomorrow as we kick off the new week with some brand new music from a Cheshire-based female indie rock trio who I have actually spoken to in the flesh when they supported The Orielles at The Sugar Mill in Stoke-On-Trent in early 2020. Their debut LP is set to get released in May.

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Way Back Wednesdays: The Smashing Pumpkins – ‘Cherub Rock’

February 9, 2022 — Leave a comment

Pictured: Billy Corgan (Lead Vocals/Chief Songwriter/Producer), James Iha (Bass Guitar), Jeff Schroeder (Keyboard/Rhythm Guitar) & Jimmy Chamberlain (Drums/Percussion) in a press shot for ‘Cyr’ (2020) (Photo via PR)

Good Afternoon to you! This is Jacob Braybrooke, and I’m here to deliver a ‘Smashing’ new entry into our exhaustive library of weekly ‘Way Back Wednesdays’ posts on the blog as we remember some of the seminal sounds of the past with another daily track on the blog, given how it has always been my day-to-day pleasure to write up about a different piece of music every day! TNA promoter, of all surprising side hustles, Billy Corgan is a 90’s-leaning songwriter with an artistic drive who always puts a great effort into the visual aspects and the guitar effects within his material. Although some of his Smashing Pumpkins work has varied in quality, he is still going today and, as I’ve mentioned on the blog in previous relevant posts, he is never without inherently uninteresting ideas and one of his risks paid off neatly with ‘Cherub Rock’, a 1993 hit that was taken from his band’s second studio album – ‘Siamese Dream’ – that was unveiled to the globe as the first single from the release at the time. It was nominated for a Grammy Award for ‘Best Hard Rock Performance’ and it was later covered by Rochester-based indie rock band Roses Are Red in 2005. ‘Cherub Rock’ was one of the last songs to be written for ‘Siamese Dream’ and it peaked at #31 in the UK Singles Chart. The influences and lyrics of ‘Siamese Dream’ stood out among other Alt-Rock releases at the time despite recording sessions fraught with high tensions and some difficulties, and it was regarded as one of the most critically-acclaimed alternative albums of the 90’s by institutions like Rolling Stone. Let’s revisit ‘Cherub Rock’ below.

Although ‘Cherub Rock’ was not as widely marketable or commercially successful as ‘Today’ by critics upon its initial release, it remains to be a fan favourite and it was given a new lease of fresh life during the 00’s when it was included on the playable soundtracks of popular rhythm action video game franchises like ‘Guitar Hero’ and ‘Rocksmith’ available for multiple console platforms. Starting off with marching drums that remind me of The Red Hot Chilli Peppers, who arrived on the scene a bit later on, that morphs into a prominent set of guitar riffs that have a heavy Grunge aura to them, we thrust defiantly into fuzzy and soft instrumentation that is energetic and driving in its excess of feedback. This glitched delivery has a clear Shoegaze element that also points towards My Bloody Valentine or Ride with the textually thick balance of hypnotic Post-Punk and high-cadence melodic precursor to mid-90’s Brit-Pop. Lyrically, Corgan relates to his own relationship with the ‘Indie’ music community of the 90’s and his perceptions within the larger media, with forceful lyrics like “Doesn’t matter what you believe in/Stay cool” that encourages you to follow your instincts as an artistic matter and “Hipsters unite/Come align for the big fight to rock for you” that carry his determined ethos to bring rag-tag gangs together to enjoy music socially and within a communal environment that is free for you to express yourself in as an artist or audience member, with a bad-tempered hook of “Let me out” that mirror the relationship of a songwriter and a record label getting sour as towering creative differences ware on. Corgan delivers one of his most fiesty vocal performances and the soaring guitar solo is a highlight in showcasing his skills as a guitar player. What is interesting is how he recorded the prominent effect section of his guitar parts by recording the music to two different tapes at simultaneous fashion, and he clearly alters the speed of one of his tapes. What this means is that it makes the effects feel as though they are not really coming from the guitar, leaning into his Shoegaze influences most directly. Overall, ‘Cherub Rock’ still sounds great as the lyrics ring true, the instrumentation is more diverse than it may feel at first glance, and you have a well-informed vocal performance by Corgan who layers his furious songwriting on top of the stellar drums and the distortion-drenched guitar melodies to build up a cascading wall of sound around him as to convey his emotions with a swelling buoyancy. Drifting through Shoegaze, Alternative Rock, Electronica, Psych-Rock, Prog-Punk and Dream Rock through a vicious cycle that is paced coherently, ‘Cherub Rock’ could represent Corgan at his most creative and most visually detailed.

Pictured: Cover Artwork for ‘Siamese Dream’ (LP) (Released on July 27th, 1993) (via Virgin/EMI Records)

If you’re looking to smash some more pumpkins, you’ve come to the right place. You can get festive with my write-up of the rare track ‘Christmas Time’ from 1997 here: https://onetrackatatime.home.blog/2021/12/19/santas-scuzz-sundays-the-smashing-pumpkins-christmas-time/. You can dive into some of Corgan’s latest material with ‘Wyttch’, a promotional single taken from his 2020 album ‘Cyr’ here: https://onetrackatatime.home.blog/2020/11/27/todays-track-the-smashing-pumpkins-wyttch/. Or take a trip to the moon with my older assessment of ‘Tonight, Tonight’ with this post: https://onetrackatatime.home.blog/2019/10/27/scuzz-sundays-the-smashing-pumpkins-tonight-tonight/.

Pictured: Cover Art for ‘Mellan Collie and The Infinite Sadness’ (LP) (Released in 1995) (via Virgin/EMI Records)

Thank you for checking out my latest post, and it is always a pleasure to join you in remembering the creatives who bought the excellently produced LP ‘Mellan Collie and The Infinite Sadness’ to the world in the 90’s. I’ll be back tomorrow, however, with a large emphasis on fresh new music as I introduce you to a very interesting Berlin-based Experimental Rock musician who made a name for themselves as a part of LA’s LGBT community of underground producers. They have performed alongside Charli XCX and Flume, and they’ve received positive support from the likes of Mixmag.

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