Today’s Track: Rolling Blackouts Coastal Fever – ‘The Way It Shatters’

April 30, 2022 — Leave a comment

Pictured: Cover Artwork for ‘Endless Rooms’ (LP/Album) (Available from May 6th, 2022) (via Sub Pop Records)

Good Morning to you! This is Jacob Braybrooke, and it’s time for me to return to my writer’s table as we get invested in 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! The Melbourne-based 6-piece Rolling Blackouts Coastal Fever emerged nine years ago with their subtle blend of 00’s Jangle-Pop and cheerful 60’s Surf-Rock – with not one, not two, but three guitarists amongst their line-up. They have now earned an established profile with popular LP releases like 2018’s ‘Hope Downs’ and 2020’s ‘Sideways To New Italy’ since those years, along with a top 5 entry on the UK’s Physical Singles Chart. They have earned acclaim from sites like Triple J, Pitchfork, Noisey, AllMusic, Pop Matters, Uncut, Far Out Magazine and others. They have also gained awards attention from the AIR Awards, Australian Music Prize, Music Victoria Awards, J Awards and National Live Music Awards as well. The typical two-year cycle between album releases is up for them, so we’re naturally getting their third album – ‘Endless Rooms’ – next month. It arrives on May 6th via Sub Pop Records/Ivy League Records, and it has been described by the group as “almost an anti-concept album“, with the title reflecting, “our love of creating worlds in our songs. We treat each of them as a bare room to be built up with infinite possibilities“, according to the band. It’s automatically clear that free time was spent by the band to craft their new record during lockdown, as the lead single finds the band experimenting with Synths for the first time to add a fresh dynamic to their folk-inspired sound. Check out ‘The Way It Shatters’ – with the music video, which taps into the new LP’s darker themes – below.

“It’s about how ending up in your particular situation in life is the result of absolute randomness. If you happen to be born into wealthy Australia or happen to be born into a war zone in Syria. That’s just the way it shatters“, Rolling Blackouts Coastal Fever say about their album announcement and recent single, adding, “So it’s when this good luck is mistaken for a sense of pride in one’s self or their country they become confused and deluded about what’s important. It’s when those on the other side of the luck scale are completely othered and considered not worthy“, in their insightful description of it. Reflecting more of a night-time vibe than most of their previous efforts, ‘The Way It Shatters’ gets up to some speed with nimble and angular guitar melodies that fill the opening, as the soaring Synth stabs and the sharp, layered Drum melodies fill the rest of the space when they follow. Evident 00’s Jangle-Rock and 60’s Surf-Rock qualities are still there, due to how the band structure the track and how the vocals have an acoustic dynamic, but it feels more lively and energetic than before due to how the Synths play off the tension and mark a more expounded first step into electronic territory. There’s a slightly dissonant Keyboard line and an ascending bassline thrown in, and when all of these elements come together, they sound not very dissimilar to The Psychedelic Porn Crumpets or Deerhunter overall. While the hooks are quite mainstream-friendly and the progressions of the chords are pleasant, the lyrics reflect a slightly darker and a slightly more sinister spin to these proceedings. Lyrics like “It’s desolation by rote?/All around your home/If you were in the boat/Would you turn the other way?” deals with humanity and how we all find our own place within it. Later hooks like “Lost in a magazine town/It’s all falling up again and in my head, I tell myself/It’s all just a necessary evil” dig their fans into isolation habits and the fortune that favours some of us above others. It never feels over-produced, although clear signs that bigger producers have been set up with the band for tracks like these. There’s nothing here that I haven’t really heard before, however, it has a more gritty sound than 2020’s ‘Sideways To New Italy’ which I enjoyed and skews towards a decidedly 90’s Indie sound that gets a nostalgic quality across. Pleasing to fans of the band’s existing material, I also think ‘The Way It Shatters’ appeals nicely to fans of bands like Mumford & Son’s who operate in a similar genre, but have a slightly more known profile to them. A clean, solid track with catchy lyricism and progressive ideas.

Pictured: Fran Keaney (Lead Vocals/Acoustic Guitar), Joe White (Lead Guitar), Tom Russo (Rhythm Guitar/Backing Vocals), Joe Russo (Bass Guitar/Percussion) and Marcel Tussie (Drums) (2020) (Photo via Nick MC/DIYmag.com)

Rolling Blackouts Coastal Fever seemed really popular in 2020 and, as someone who likes to comment on the fuss, its only natural that we met before in the entries below:

‘She’s There’ (2020) – https://onetrackatatime.home.blog/2020/06/08/todays-track-rolling-blackouts-coastal-fever-shes-there/

‘Cars In Space’ (2020) – https://onetrackatatime.home.blog/2020/03/24/todays-track-rolling-blackouts-coastal-fever-cars-in-space/

Pictured: Cover Artwork for ‘Sideways To New Italy’ (LP) (Released on June 5th, 2020) (via Sub-Pop Records)

That’s all for now! Thank you for checking out my latest post on the blog because I appreciate that on a Saturday, much like the band, you must feel shattered. ‘Scuzz Sundays’ is back tomorrow, and we will be tying it into current affairs once again because the central band have just released their eleventh studio album. They are known for singles like ‘Last resort’ and ‘..To Be Loved’, and the following was used as the main theme song for WWE’s ‘Monday Night Raw’ TV show between 2006 and 2009.

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New Album Release Fridays: The Lazy Eyes – ‘Fuzz Jam’

April 22, 2022 — Leave a comment

Pictured: Cover Artwork for ‘Songbook’ (LP/Album) (Released on April 22nd, 2022) (via Self-Released)

Good Morning to you! My name is Jacob Braybrooke, and the time has finally arrived for us to take a walk on the psychedelic Gen-Z side of music as I take you through 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! While the new albums from Fontaines DC, The Psychedelic Porn Crumpets and Poppy Ajudha have each been coming out today and they are all shaping up to be good, nothing has quite sparked the same interest for me as the long-awaited and slightly delayed (as it was originally set to be released in March) debut album by The Lazy Eyes. ‘Songbook’ has been self-released through the Australian Psychedelic Rock band’s channels on this day – a record that, according to the Vinyl’s product description, “is evidence of an edifice slowly being formed, a trepidatious first footstep by the band into the wider world” as they match a 60’s Neo-Psychedelia influence with a kaleidoscopic aesthetic that blurs the lines between fantasy and reality. The Lazy Eyes have developed a cult following and earned acclaim for their live sets since forming as a unit in 2015 when they met at Sydney’s Newtown High School of the Performing Arts. Not only have they sold out shows across the Australian east coast, but they are also responsible for the creation of their own live music festival LazyFest. They have also earned praise from numerous sources including KCRW, FBI Radio, BBC Radio 6 Music, Triple J Unearthed and NME. ‘Songbook’ follows the releases of 2020’s ‘EP 1’ and 2021’s ‘EP 2’, and the group’s profile will continue to grow when they support The Strokes on tour next year along with The Chats. Prepare yourself for the unadulterated liveliness of ‘Fuzz Jam’ below.

Matching the dynamic structure of ‘Fuzz Jam’ with a psychedelic monochrome outset for the music video, the band’s vocalist-guitarist Harvey Geraghty has discussed the foundations of the track’s vibrant soundscape, saying, “I wrote ‘Fuzz Jam’ to use this instrument that [guitarist Itay Sasha] bought live. It’s this Hohner Planet T, and we wanted a more hard track to play on it, instead of just singing songy songs”, in a press statement. Ever the humorous bunch, The Lazy Eyes take some influence from the sprawling, cinematic post Neo-Psychedelia of The Flaming Lips and a 60’s Beatles-esque Jangle Pop vibe to conjure up a heightened Noise-Rock collage of effects-filled Synth sounds and delay pedal-dominated guitar riffs that feels almost self-referential to its core influences. This one starts off with a threatening bassline accelerated by the animalistic Drums and seductively sultry lead guitar riffage that creates a very improvisational feel to the instrumentation where the tempo chops and changes throughout the track, endlessly segueing in and out of sparkly Psychedelic Pop and ‘turn up that dial’ good time rock. These grooves mutate and twists, so you never quite know what’s around the corner. Simple lyrics like “I want it all to be ok, I want to stay the same” and “Run for the door, You’ll be okay/Don’t be afraid to say my name” often get repeated, which leans loosely on the heavy and inciting soundscape while occasionally dipping into a sweeter harmony. It can often seem like you are listening to three or four different songs thrown in a blender together here as the overall instrumentation is fairly unpredictable and the rhythms are complex, not to mention the full-blast feel of the saturation effects which turn their Psych-Rock world upside down, but their vocals are played out with some subtle sense of comfort while the incendiary electronic elements penetrate the rhythmic bass grooves to a satisfying cohesion, despite the track having its lofty ambitions. These elements are all major thorough-lines in the track, and so the pacing never feels massively out-of-place as to make the track feel incomprehensible. Overall, this is all playful fun and it seems like the kind of track that really could not have been made 20 years ago, which is a quietly incredible feat. It never shakes off the meditative qualities which have set them apart.

Pictured: Harvey Geraghty (Lead Vocals/Keyboard/Rhythm Guitar), Itay Shachar (Lead Guitar/Backing Vocals), Leon Karagic (Bass Guitar) and Noah Martin (Drums/Percussion/Occasional Backing Vocals) (2022) (Photo Credit: PR)

Thank you for checking out my latest post, and please make sure to follow the blog on Twitter (the links are below) to get notified whenever my daily posts are uploaded and help me to dominate the social media algorithm, eventually allowing me to take over the world. In the meantime, I’ll be back tomorrow to review a recent single by an established Manchester-based Art-Rock band who have a Mercury Prize nomination and five Ivor Novello Awards nominations to their name. They follow in the same tradition of Django Django, Talk Talk and Years & Years in having a double title for their name. Thinking about it – this is actually great material for a Pub Quiz question.

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Today’s Track: Honeyglaze – ‘Female Lead’

April 7, 2022 — Leave a comment

Pictured: Anouska Sokolow (Lead Vocals/Lead Guitar/Rhythm Guitar), Tim Curtis (Bass Guitar/Backing Vocals) and Yuri Shibuichi (Drums/Percussion/Occasional Backing Vocals) (2022) (Photo Credit: Holly Whitaker/DIYMag.com)

Good Morning to you! This is Jacob Braybrooke, and it’s time for me to cut to action on the set of another daily track on the blog, with a movie theme today, that helps me to fulfill my goal of writing up about a different piece of music every day! Born out of lead songwriter Anouska Sokolow’s “un-desire to be a solo act”, according to Red Light Management, Honeyglaze are an emerging indie rock trio based in Southern London who met officially at their first rehearsal together just three days prior to what would become a near-residency at The Windmill in Brixton, where bands like Black Midi and Squid have also found their footing. They have also performed at festivals including Green Man Festival, Fred Perry’s All Our Tomorrow’s Festival, Live At Leeds and Cardiff’s SWN Festival across the last couple of years too. Their debut studio LP is self-titled, and it will be coming out on 29th April 2022 via Speedy Wunderground, a Dance-influenced Post-Punk label that is, of course, partially run by well-respected producer Dan Carey. Pierre Hall, the A&R representative of the label, says “We’re so excited to announce Honeyglaze as our next proper signing to the label. We were blown away as soon as we heard their music, and then, furthermore, when we met them in person. It’s felt like such a natural partnership and they’ve created something really special. We can’t wait for the world to hear. Be prepared to fall in love”, about Honeyglaze’s music. The latest catchy single to be taken from their upcoming 11-track project is ‘Female Lead’, which gets accompanied by a music video that was directed by James Ogram and Sokolow herself, and it stars Jojo Macari, an actor who has also starred in Netflix’s ‘Sex Education’ TV series. Check out the pre-release offering below.

Honeyglaze will be performing headline gigs at venues in London, Portsmouth, Margate, Manchester and Hull throughout May in the UK, and it follows their support slots for Katy J Pearson and Wet Leg. Talking about the video for the track, Sokolow says, “Given that the song itself is so narrative heavy, we knew we wanted to make something with it’s own seperate story”, adding, “It started off with some ideas about duality and stolen identity. I had recently watched ‘Casablanca’ and that’s where we got the idea of this movie character coming to life and we ended up writing a full scene for a made-up, 50’s romance.”, in a press release. Tackling these themes of self-understanding and personal worth in the track itself, the trio back up Sokolow’s explorations of changing your appearance and feeling overwhelmed in your ambitions through the lens of flashy hair dye. Lyrics like “I put it in my black hair, and waited for an hour/But when I washed it out, oh, god, I’ve let my mother down” and “I look nothing like Madonna/More like an 80’s horror film/I’ll have to wear a hat, Until my golden hair turns black” are geared towards the witty side, but they provoke serious thoughts about how we view ourselves and compare ourselves to famous faces. The narrative builds up with soft vocals, steady drums, melancholic guitar riffs and delicate splashings of Bass that are kept simple and concise within the song’s short 2-minute runtime. The key lyrics are delivered to a vintage-leaning tune that was influenced by The Shangri-La’s, according to the trio themselves, and the buzz of the British narrative-based Pop songs that were all of the rage in the cinematic 60’s. They replicate the vibe well, while adding a ‘timeless’ feel to the track. The vocals sound pure and intimate, with a fragile mix of a spoken and haiku-like format to present what is being written between the lines with a rather direct sense of well-versed clarity. Although it is kept short and to the point, ‘Female Lead’ has enough depth and substance overall to spread its message of romanticized ideals and self-judgment through the temporal era of retro cinema. Who knows, going by this track record, maybe Honeyglze will put in a more Oscar-worthy performance in the future?

Pictured: Vinyl copy of’Honeyglaze’ (Self-Titled LP) (Available from April 29, 2022) (via Speedy Wunderground)

Thank you for checking out my latest post, and I look forward to bringing a new entry of ‘New Album Release Fridays’ to your eye line tomorrow, as we turn our attention to a multi-time Mercury Prize nominee who came out as non-binary in 2020. A breath of fresh air on the Spoken Word genre, they share one particular thing in common with Honeyglaze. They also had a residency at The Windmill in Brixton. Aside from music, they are a Sunday Times best-selling and Costa Book Of The Year-nominated author.

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Way Back Wednesdays: The Specials – ‘Gangsters’

March 9, 2022 — Leave a comment

Pictured: Cover Art for’The Best Of The Specials & Fun Boy Three’ (LP) (Released In 2006) (via Pegasus Records)

Good Morning to you! This is Jacob Braybrooke, and it’s time for us to go retro with another weekly blog entry of ‘Way Back Wednesdays’ on the site, since it’s always my day-to-day pleasure to write up about a different piece of music every day! Today, we really are going ‘Way Back’ because we are talking about the British Ska revival band The Specials, who were part of the 2 Tone and Alternative Reggae movements all of the way back in the late-70’s and they have continued to represent these styles through to the present day. I was going to see a tribute band for The Specials in Stoke-On-Trent before the pandemic hit in 2020 – which I was very much looking forward to, in a way – but, unfortunately, we know how that turned out in the end. Known for combining uplifting Dub melodies with the ferocious spirit of Punk, The Specials were formed back in 1977 when they lived in Coventry – and that is way before my time. They used to wear mod-style 60’s period ‘rude boy’ outfits complete with pork pie hats, tonic & mohair suits, and loafers on-stage, likely performing their greatest hits like ‘Ghost Town’ and ‘Too Much Too Young’ that reached #1 in the UK’s singles chart. They continued their career throughout the 80’s and 90’s under a revised line-up with an alternate name of The Specials AKA, which represented their informed political stance and their wry social commentary on British society. Most impressively, The Specials are still recording new material today, and they most recently released ‘Encore’ in 2019 – an original album that re-introduced vocalist Terry Hall to their ranks, and it was a #1 entry on the UK Albums Chart. ‘Gangsters’ was another of their classics, which was recorded in Studio One of Horizon Studios in Coventry during 1979 to be released as their first track under The Specials AKA name, and it peaked at #6 in the UK Singles Chart following release. Let’s give it a spin below.

Terry Hall created the vocals for ‘Gangsters’ by mixing an “angry” recording and a “bored” recording that were cobbled together, while Horace Panter had to re-cut the Bass parts because they were originally so extreme that they “blew the needle out of the record’s grooves” and pianist Jerry Dammers overdubbed a treble-heavy Piano instrumental on to the track to compensate for the low-end of the Bass. Lyrically, ‘Gangsters’ was allegedly written about a real-life incident where The Specials had to pay for damage caused to a hotel by another band (rumored to be The Damned) as they were held responsible, and the track is also reportedly a re-working of Prince Buster’s 1964 ska track ‘Al Capone’ because ‘Gangsters’ samples the car sound effects which played at the beginning of Buster’s track. Moreover, The Specials changed the refrain in the opening line to “Bernie Rhodes knows, don’t argue” as an insult aimed at Bernie Rhodes, who was the band’s manager for a brief stint. Taking all of these different stories into account, The Specials telling a story of dis-establihment in a bizzare way as they reference incidents like a mis-step involving a guitar above a perky variety of gently Skanting Dubplate beats and odd Middle Eastern-sounding instrumentals, while the lead vocals retain an energetic – yet eeire – delivery. The guitar melodies sound different to Al Capone’s track, and so The Specials did an excellent job of re-writing that track in their own image, with the deadpan vocals conveying a feeling of self-awareness about them. Overall, ‘Gangsters’ was a vital step in introducing The Specials’ take on British Ska to wider audiences at large by paying tribute to some nice influences in clear, yet poignant ways. The vocals have a quality of vagueness which retains an aura of mystery throughout, and the danceable Rocksteady drums are likely to encourage weird great uncle’s to partake in some questionable “jerky dancing” at some family parties. Injected with humor, darkness and youth – The Specials had a big hit on their hands when they released ‘Gangsters’.

Pictured: A LEGO r-ecreation of the ‘A Message To You, Rudy’ music video (2018) (Photo Credit: Musical Brick)

That same year, The Specials also re-created ‘A Message To You, Rudy’ with the famous British-Jamaican saxophonist Dandy Livingstone. You can find out more about that here: https://onetrackatatime.home.blog/2020/02/06/todays-track-the-specials-a-message-to-you-rudy/

Pictured: Cover Artwork for ‘A Message To You, Rudy’ (Single) (Released in 1979) (via 2 Tone/Chrysallis)

That brings me to the end of another nostalgic breakdown of a beloved classic for another week on the blog, and I thank you for spending a moment of your day with me on the site today. I’ll be back to bringing some new music to your eardrums tomorrow, as we take a light gander on a downtempo soul track by an experimental Toronto-based performance artist and producer whose music encompasses Pop, Indie Rock, Jazz, Neo-Soul and Bossa Nova. She has learned to play several exotic instruments including the Harp, a Pairometer and the Tenori-on. She has shared the stage with the likes of Janelle Monae and Aloe Blacc, and she contributed her vocals to Bob Wiseman’s ‘Giulietta Masina At The Oscars Crying’ that was first issued in 2012.

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New Album Release Fridays: Nilufer Yanya – ‘The Dealer’

March 4, 2022 — Leave a comment

Pictured: Cover Artwork for ‘Painless’ (LP/Album) (Released on March 4th, 2021) (via ATO Records)

Good Morning to you! This is Jacob Braybrooke, and it’s time for us to enjoy an in-depth preview for one of the weekend’s most exciting stand-out’s in an eclectic line-up of exciting new album releases with yet another daily track on the blog, which makes sense because it is always my day-to-day pleasure to write up about a different piece of music every day! ‘Painless’ is the second studio album to come from Nilufer Yanya, who is the daughter of two visual artists who have Turkish and Irish-Barbadian heritage, which is releasing today via ATO Records. What makes Yanya very interesting is how, despite growing up listening to traditional Turkish folk music and Classical music, she gravitated to guitar-based rock ‘n’ roll instead, and she learned how to play an instrument when she was just twelve years old. Yanya has spoken out in the press about the talent acquisition model that she experienced when she found fame via SoundCloud in 2014, how people have assumed that she makes R&B music due to her appearance and background, and the lack of diversity in modern music festivals across the UK, most recently, in a firm but fair interview with The Independent. However, Yanya goes for a different sound than you may expect and pushes some boundaries with a sound that I would describe as quite ‘loose’ and ‘restless’, as she incorporates a decent variety of influences including Trip Hop, Blues Rock, Neo-Soul and Progressive Jazz into her repertoire of releases. The 26-year-old West London-based singer-songwriter says, “Painless is a record that forces the listener to sit with the discomfort that accompanies so many of life’s biggest challenges whether it be relationship breakdowns, coping with loneliness, or the search for our inner self. It’s a record about emotion”, in the LP’s product description on the Rough Trade website. The bold and ambitious release is the follow-up to 2019’s ‘Miss Universe’ and a string of EP’s that were compiled to essentially form up her 2021 release ‘Inside Out’. Check out the latest single from it – ‘The Dealer’ – that was attached to the visualizer below.

“When I was writing this song, I was thinking about the transient nature of life and the cyclical nature of the seasons”, Yanya says of her final pre-release single ‘The Dealer’ that follows previously unveiled tracks like ‘Midnight Sun’ and ‘Another Life’, and she adds, “I find it interesting how we attach certain memories and feelings to different seasons and tend to revisit them time and time again, yet our lives move in a more linear motion and even when we feel like we are going back we never really get to go back anywhere. Musically speaking, it’s a bit more playful and relaxed”, in her press statement. Establishing a high tempo quickly and right out of the gate with a fuzz-laden series of blurred and dreamy guitar chords that are complemented aggressively by some clattering hip hop-like drum beats, Yanya gets right down to business by crooning “It’s been weighing on my mind/Seems to be with me all the time” and “I thought you were someone to rely on/Does sadness pick you to the bone?” with a lovesick tone as she continually contemplates her cyclical nature of her thought process. The instrumentation is fast, but frequent, as the track develops and the guitar-drum’s combo have a high-speed energy that allows the pounding break-beats and shoegaze-influenced basslines to have a few merticulous time signature changes that can appeal to the most avid fans of Prog Rock structuring while suiting the lushly harmonic and expansive funk-rock style of her vocals and instrumentals. Lyrics like “Patience, there she goes/Cadence, set in stone” show Yanya trying to break out of the self-centric and specific modes of thinking about a relationship, and the more straightforward refrains like “I miss the kind of patience that breaks your heart/Baby, it’s me that is taking us apart” have a rhythmic delivery, but they still cut to the root of the problem that has been plaguing Yanya’s mind throughout the verses. Overall, ‘The Dealer’ has to be one of the strongest singles that I’ve heard from Yanya because she sounds clear and confident, while addressing vulnerability, in her vocals. I also like the adjacent guitar hooks and the angular drum beats that sound cool and casual, while gently veering towards a retro 90’s-disco style in their groove-like repetition. If ‘Painless’ builds upon ‘The Dealer’, a purchase of the LP is a deal that is hard to refuse.

Pictured: Nilufer Yanya in a promotional shoot for her live Latitude Festival set (2017) (Photo via ReadDork.com)

Thank you for reading my latest post, and I hope that you enjoy the rest of the day knowing that your continued support is always highly appreciated from me! Moving forwards, there is a new weekly entry of ‘Scuzz Sundays’ lined up for you on Sunday, but I’ve got a short and sweet one in the works for tomorrow where we’ll be reviewing the latest single from a Los Angeles native all-female indie rock band known for their 2010 essential track ‘Undertow’. They have supported Harry Styles and Foals on global tours, and their single ‘Lilys’ was featured in the HBO TV series ‘Made For Love’.

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Today’s Track: Peaness – ‘How I’m Feeling’

February 21, 2022 — Leave a comment

Pictured: Cover Art for ‘World Full Of Worry’ (LP) (Available from May 6th, 2022) (via Totally Snick Records)

Good Afternoon to you! This is Jacob Braybrooke – and it’s time for me to return to my laptop after a storm-related power issue prevented me from using any devices this morning 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! Peaness (No, it’s not what any dirty-minded individual would call it) are an indie pop trio who met at The University Of Chester, Cheshire during 2013 and initially named their witty band after a joke between themselves – and yet it stuck. They decided to form Peaness formally the year after in 2014 – with Balla (Guitar/Co-Vocals), Jess (Bass/Co-Vocals) and Rach (Drums/Percussion) making up their 3-piece line-up. They have earned praise from publications like Bearded, Gigwise and Louder Than War, and singles like ‘What’s The Use?’ and ‘Kaizen’ have gained airplay from the daytime playlist of BBC Radio 6 Music, with Marc Riley as a huge fan of their work so far. A range of singles and EP’s have been released on labels like Kingfisher Bluez, Odd Box Records and Alcopop Records since 2015, and the three young ladies are soon going to be finally releasing their debut full-length album – ‘A World Full Of Worry’ – on May 6th via their self-release label Totally Snick Records. Peaness are also one of the few bands that I’ve actually spoken to in-person, as I had a brief chat with them at the merchandise stand while they were supporting The Orielles at The Sugar Mill, Stoke-On-Trent in February 2020 when we had a lovely little chat about all things music, which my close friend from university bought me along with him to. Let’s check in to see ‘How I’m Feeling’ below.

Recently announced for an extensive run of live headline shows and music festival appearances through the summer in the UK, Peaness are gearing up to bring their expansive itinerary of summer-driven guitar hooks and retro-style harmonies to a wider audience when ‘A World Full Of Worry’ launches in May, with the band saying, “In an unfulfilling job? Need a shake up with something in your life or you’ll go mad? Well, that’s ‘How I’m Feeling’ and it can’t be ignored anymore! Amongst self-loathing and melancholy there are sparks of determination and a belief that you deserve more. I hope it works out”, in their press release about the punchy punk-oriented tune. Determined lyrics like “This isn’t what I wanted/I break my back for you” and “This sinking ship has sailed/Threw myself over board” shine through from the off-set, where Jangle-Pop guitar melodies and scratchy, perky bass riffs power the verse. The chorus makes me think of the often underrated ‘Pretty Odd’ days of Panic! At The Disco’s earlier line-up, with a vibrant mix of 00’s Pop-Punk and late-60’s Psychedelia giving the track a quirky flavour and a nostalgic warmth in the mood, which are paired enthusiastically to lyrics like “I’ve got the guts to take a leap/You’ve gotta trust that I can” that talk about out fantasies of leaving the daily grind for something that you are more driven towards. I like how the percussion comes in towards the end, and the track has a cheerful set of sounds that are relatable, leading to a catchy chorus that should appeal to a diverse crowd of listeners because the songwriting feels accessible and there’s a retro do-it-yourself punk feel to the production, where the chanting vocals are never sullied by any auto-tune or overly polished effects. An engaging track by a very playful and dynamic three talents, ‘How I’m Feeling’ is pure summertime driving with the roof down cheer and timeless harmony-filled, slightly Lo-Fi, yet charming Pop-influenced punk music which Peaness has done with finesse!

Pictured: Balla (Lead Guitar/Lead Vocals), Jess (Bass Guitar/Lead Vocals) & Rach (Drums) (2022) (Photo via PR)

That’s all that I have lined up for you today and I have other matters to attend to now, but I thank you ever so much for checking out the blog today because your support is always highly appreciated! I’ll be back tomorrow with a taste of Jamaica as we review the latest single from a Massachusetts-based, St. Elizabeth-born Reggae-Rock artist who is the younger brother of Andrew Holness – the current Jamaican prime minister.

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Way Back Wednesdays: War – ‘Why Can’t We Be Friends?’

January 12, 2022 — Leave a comment

Pictured: Leroy “Lonnie” Jordan (Lead Vocals/Keyboard), Stuart Ziff (Lead Guitar/Backing Vocals), Stanley Behrens (Harmonica), Sal Rodriguez (Drums/Backing Vocals), David “Pug” Rodriguez (Percussion), Marcos Reyes (Percussion/Backing Vocals) and Trevor Huxley (Bass Guitar) (2016) (Photo via The Cincinnati Enquirer)

Good Morning to you! This is Jacob Braybrooke, of course, and the time has come to revisit one of the seminal sounds from the past as ‘Way Back Wednesdays’ headlines yet another daily track on the blog, not forgetting that it’s always been my day-to-day pleasure to write up about a different piece of music every day! A band who transcended cultural and racial barriers with a diverse multi-ethnic line-up, War were scoring top ten hits on the US Billboard charts long before my mother was changing my nappies (and just about when my grandmother was changing her’s) as the Funk band from Long Beach, California continued to find success through the 1970’s and 1980’s. Known for exploring elements of Funk, Rhythm & Blues, Latin music, Reggae, Psychedelia and early Prog-Rock music genres, War were called “one of the fiercest progressive Soul combos of the 70’s” by Martin C. Strong. Their 1973 album – ‘The World Is A Ghetto’ – was also Billboard’s best-selling album of that year. Although Leroy “Lonnie” Jordan is the only original member who remains in War’s current line-up, their energy has been sustained by The Lowrider Band that was formed between four of the other members in the 1990’s. Their seventh studio album – ‘Why Can’t We Be Friends’ – is sadly not their most well-remembered today, but the title track has been used in film and TV productions like ‘The Simpsons’, ‘Bridge To Terabithia’ and ‘Wild Things’ to notable results. It was also a top ten hit in the US, where it reached #6 on the Billboard Hot 100 in the summer of 1975. War wrote the track after a fight broke out at a festival they were playing in Japan, and so they turned it into a clever tale conflating post break-up reconciliation with a really humanitarian plea for racial harmony that is ultimately a call to quell post-Watergate paranoia. Today’s post also ties into recent releases, as War released a ‘Greatest Hits 2.0’ compilation featuring the song as recently as November 2021. Check out the remastered music video below.

The title track of the album that it also closes, in a unique choice of placement, ‘Why Can’t We Be Friends’ also made history as a track that earned the distinction of being played in outer space as NASA beamed it to the linking of Soviet cosmonauts and U.S. astronauts for the Apollo-Soyuz Test Project in July 1975. It kicks off immediately with the chorus, as bright Brass punctuation combines with a jaunty lead vocal that comes off as a little rakish in delivery to form an infectious chorus of steady, but celebratory in texture, drum hooks and a contagious Reggae beat that forms a catchy groove. The lyrics, like “I’ve seen you round for a long long time, I remembered you when you drank my wine” are full of overtly political calls for peace and unity. Hooks like “I paid my money to the welfare line, I see you standing in it every time” are also rooted in economic equality, while short sequences like “The colour of your skin don’t matter to me, As long as we can live in harmony” are urgent calls for a sense of racial integration, while the soulful delivery of the track’s title hook in the chorus poses, what would have been, the question of the decade. I feel the song’s structure is unique in how various members of the group trade short verses between each other in the chorus, but the layout is still simple as the main hook of “Why can’t we be friends?” is proudly sung four times after each two-line verse, which actually amounts to over forty times in under four minutes, which is an intriguing fact in itself. Although it touches upon significant racial themes, it is very feel-good and light-hearted as a complete package, boasting some punchy Reggae-driven melodies that form non-confrontational arrangements. The vocals have a swift air of ‘unpolished’ to them and the groove is a little sloppy around the edges, but somehow, these technical flaws come across like a part of the point being made by War in the lyrics. There’s a hearty stew of Jazz, Funk and Latin music to the track and although some underdeveloped musical ideas rear their heads a tad, the main groove is still very uplifting and the sentiments of the lyrics are still valid, as well as coming across as before their time in terms of the songwriting themes. A track that displays a laudable devotion to unify the different ethnic minorities of the world, during the 70’s and beyond, ‘Why Can’t We Be Friends’ used tried-and-tested Funk rhythms to get a poignant message across.

Pictured: Cover Art for ‘Greatest Hits 2.0’ (Compilation LP) (Released on December 11, 2021) (via Rhino Media)

That brings us to the end of the post of the day. Thank you for accepting my friendship by reading your daily post today, and I will be back tomorrow to shine a spotlight on some soulful new music from a Minneapolis-based and Chicago-raised Alternative R&B singer-songwriter of Venezuelan and Guatemalan heritage who has worked with producers like Sen Morimoto and Luke Titus. She is signed to City Slang.

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New Year’s Day 2022 Special: Al Stewart – ‘Year Of The Cat’ (Live In Seattle, 1976)

January 1, 2022 — Leave a comment

Pictured: Cover Art for ‘Year Of The Cat’ (LP) (Released in July 1976) (via RCA Records/Parlophone Records)

This is Jacob Braybrooke and I’m wishing you a good version of your own of what has been the best day of the year so far for me with yet another daily track on the blog, since it’s always been my day-to-day pleasure to write up about a different piece of music every day! A Scottish folk revivalist figure who found prominence in the 60’s and 70’s as a unique songwriter who would combine soft rock songs with stories of different characters or significant events from history, Al Stewart is a talent of delicate weaving who once recorded a very fitting single to ring the New Year in with his 1976 offering, ‘Year Of The Cat’. For a musician who played a live set at the inaugural Glastonbury festival in 1970, reportedly knew Yoko Ono before John Lennon caught wind of her activist work, and shared a flat in London with equally memorable artist Paul Simon when he was frequently collaborating with Bruce Woodley of The Seekers fame in his younger years – Al Stewart scored a #8 hit on the US Billboard Hot 100 chart in 1977 with ‘Year Of The Cat’. Famously described by AllMusic as “one of those mysterious woman songs” nearer to the time, Stewart recorded the track as the title single of his seventh studio LP release during a session at the iconic Abbey Road Studios in London, before recording sequences from his live tour, including one performance in Seattle, for a live album, ‘The First Year Of The Cat Tour Live In Seattle’, to spring off its success one year later, where the album had become a top five chart hit in the US. Becoming a popular record to be used to demonstrate Hi-Fi demonstration, ‘Year Of The Cat’ was certified Platinum to indicate sales of over one million copies in the US during 1977. Get the kettle on, take a moment to reflect, and hear a tale of a love affair in Casablanca as we enter 2022 as a ‘Year Of The Cat’ below.

When Al Stewart stormed the mainstream with ‘Year Of The Cat’, you may be forgiven for believing him to be an overnight sensation but, in reality, it took him six previous albums worth of material and logging a bundle of hours on the Folk festival circuit before achiveing his stardom. Described by Stewart during his live set at Seattle’s Paramount theater as “a South African love song”, it remains to be the only appearance in the UK Singles charts for Stewart, who reached #31 with ‘Year Of The Cat’, a track which he ironically wrote and recorded during the Vietnamese Year Of The Cat, as it was the Year Of The Rabbit previously in China. Kicking proccedings off with a straightforward Piano line, the guitars flutter along beautifully as Al continues to kick into a higher gear with his combination of soft Rock ‘N’ Roll melodies and Progressive Pop rhythms that eventually morph into a stirring symphony of romantic guitar arrangements and radiant Piano chords as Stewart’s moving vocals concerning a whirlwind relationship in an exotic locale hit their timeless mark. Lyrics like “On a morning from a Bogart movie, In a country where they turn back time” hit their stride as Stewart sets up a vibrant scene of a one-time fling transforming into something much more substantial. Lyrics in the verses like “She comes out of the sun in a silk dress running, Like a watercolour in a rain” ignite more poignant sparks that make the otherwise sensual lyrics feel genuinely meaningful in the story, which is nicely complemented by the elegant String sections and the somewhat downbeat vocals by Stewart that provide a grounded take on the flirtatious dialogue between the two partners. It almost feels like Stewart is singing a duet meant for two vocalists on his own for the most part and he strikes a great balance between poise and sincerity with the delivery. Moving on to the instrumentation, we find Stewart bursting through various styles and motifs throughout the song – including a long instrumental section that leans towards classical Jazz with a colourful Saxophone solo and taking turns between the explosive guitar solo and the abruptly placed Brass instrumentation, but his production feels coherent enough as all of these varied elements complement the warmth of the lyrical mood. Overall, through melding his anecdotal storytelling that seems quite influential for the likes of Jens Lekman later on, and playing with the contemporary Blues song structure of the time, Stewart created a suitable story for New Year’s season with a very stylish and sophisticated range of talents. With that – I wish you a fantastic new year, and I cannot wait to hear the music contained within it.

Pictured: Al Stewart in a publicity shot before his performance at the Libbey Bowl (2018) (Photo via Noozhawk.com)

That brings us to the end of the coverage for the best day of the year so far on One Track At A Time and, as always, I thank you a great deal for your interest and support towards the site every day. After a brief hiatus, ‘Scuzz Sundays’ returns to its normally scheduled placement from tomorrow onwards, where we will be remembering a popular track from a very famous East Bay native punk rock band who found fame in the early 1990’s as we kick off the new year with familiarity. One of their tracks is the centerpiece of a Broadway musical, ‘American Idiot’, that was first performed in 2010.

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Today’s Track: The World Is A Beautiful Place & I Am No Longer Afraid To Die – ‘Queen Sophie For President’

December 29, 2021 — Leave a comment

Pictured: Cover Artwork for ‘Illusory Walls’ (LP) (Released on October 8th, 2021) (via Epitath Records)

Good Morning to you! This is Jacob Braybrooke, of course, and it is time to get your ears stuck into yet 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! *deep breath* The World Is A Beautiful Place & I Am No Longer Afraid To Die are an emo Prog Rock band with what must be the longest band title in the business and, yet, in a digital age of streaming services and IP resurgences, they must also be applauded for ending their latest album on two epic pieces that total half of it’s near 70-minute duration. Their fourth LP record – ‘Illusory Walls’ – is the record in question, an underground release that took its inspiration from the infamously difficult ‘Dark Souls’ series of popular role playing video games. Bridging the gap between genres like Space Rock, Atmospheric Rock, Post-Hardcore and Post-Rock, the Emo collective have released a number of EP’s and Splits, including a memorable collaboration with Christopher Zizzamia, a Spoken Word artist, and they cite a diverse range of influences including Battles, Caspian, Godspeed You! Black Emperor and Explosions In The Sky for their fretwork-style material. A double album released via veteran Nu-Metal label Epitath Records, the new LP is the band’s first album since the death of founding member Tom Diaz and the departures of guitarists/vocalists Dylan Balliet and Tyler Bussey. Now, the members of the 5-piece are split between the bear-filled woods of rural Connecticut and the quarantines streets of Covid-ridden Philadelphia, and it is the band’s first project that recruits outside producers in the form of Greg Thomas (Misery Signals, End), the studio partner of lead vocalist/guitarist David F. Bello, who helped the rest of the band to remotely write and finish the ambitious record within the most part of one year. According to Bello, the new album’s title of ‘Illusory Walls’ “refers to a hidden surface that seems to prevent entry, but upon inspection is nothing more than a visual illusion”. Check out the third single ‘Queen Sophie For President’ below.

Elaborating on the LP’s development stages, Bello says, “The extra time gave the band time to manage the unexpected, such as Katie Dvorak sustaining an injury that meant she was unable to sing or talk for a couple of months at the end of 2020. Had they been on a normal recording schedule, she wouldn’t have been able to get her vocals done”, concluding, “Instead, she was able to channel what happened into her songs. Though ‘Queen Sophie For President’ is ostensibly about the tenacity of oppression, whether on a personal or political level, it is heavily influenced by her injury” in his press statement. While ‘Queen Sophie For President’ scales up the bombast, it also puts a twist on the band’s sad emo-style foundations of their sound by introducing vocals that feel lighter and nostalgic, thanks in part to the keyboardist taking on the lead vocal duties. Lyrics like “Impossibly persistent, waiting for the chance to take over” have a dizzying darkness to them and they blend into Chris Teti’s intricate guitar work with a pulsating 80’s rock sound. A wide array of evocative lyrics like “Never get better and never do anything” chime the chorus along with a feeling of urgency, while rapid-fire refrains like “It won’t burn with the oven off/That damn persistent slime, just burn the whole house down” owe more to Opera Rock with their haunting harmonies that permeate angst and anxiety, riddling the zoned-out Synths of the soundscape with a deep flavour of hard-hitting songwriting that is more anthemic. Instrumentally, the barreling guitar riffs and the percussive drum beats, topped off by a punchy lead guitar solo towards the end, retain their warmth and intimate nature while delivering highly technically proficient production all-around. Most of all, however, it is the fact that Dvorak’s increased involvement threatens to steal the show at times that makes it all more worth the while, and it is the very robust chemistry between Dvorak and Bello, on vocals, which clicks together and strikes the biggest chord with me – if you see what I did there. Dvorak’s sugar-coated vocals blend together with Bello’s emotional croon, as well as the fancy handiwork from guitarist Chris Teti, very cohesively. This creates some of the most enjoyable ‘Jam Band’ moments that you could hear in 2021. An extravagant piece of ferocious Jangle-Pop meets sophisticated Post-Rock, ‘Queen Sophie For President’ is a tour-de-force of feel-good indie and profound lyrical proportions that definitely gets my vote.

Pictured: David Bello (Lead Vocals/Percussion), Katie Dvorak (Keyboard/Synths/Backing Vocals), Josh Cyr (Bass Guitar/Backing Vocals), Chris Teti (Trumpet/Lead Guitar) & Steven Buttery (Drums) (2021) (Photo by Adam Peditto)

That’s all I’ve got lined up for you on the blog today – and I’ll be back tomorrow with the final part of my series shedding light on some of this year’s most unforgettable underground releases, before we go fully back to normal, with a post regarding a band who have made many year-end lists for 2021. Signed to Saddle Creek Records, the trio take their name from a Spanish Drama film of the same title released in 1973.

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Countdown To Christmas 2021: The Lathums – ‘Krampus’

December 15, 2021 — Leave a comment

Pictured: The Lathums in a still image taken from the ‘I’ll Get By’ music video (2021) (Photo by James Slater)

Good Morning to you! You’re reading the words of Jacob Braybrooke, and it’s time that you make sure to reach Santa’s nice list this year so you don’t anger the mean streak of our titular villain, because it’s always my day-to-day pleasure to write up about a different piece of music every day! The title of ‘Krampus’ does not sound like very cheerful inspiration for a festive track at first glance, given that it was named after the ancient folklore of a Satanic version of Santa Claus who leaves children with lumps of Coal (or even worse, in some stories) on Christmas Eve night. However, it is an alternative addition to the Christmas canon that has been tackled by Wigan native indie rock band The Lathums, who earned a shout on the blog just two months ago ahead of the release of their debut album, ‘How Beautiful Life Can Be’, which went straight to the top of the UK Albums Chart in September, and it is currently amongst the likes of LadBaby, Elton John & Ed Sheeran and George Ezra in the running to become the 70th Christmas #1 entry on the UK Singles Chart. Since meeting at The Music College in their local district of Pemberton, The Lathums have signed up to Island Records and recently finished a run of UK dates including The Lemon Tree in Aberdeen. They have also been selected as Radio X’s ‘Record Of The Week’ with ‘Krampus’, giving them national mainstream airplay in the UK. American audiences can find out what they’ve missed when the band play at South By Southwest Festival in Texas next March. Let’s listen before we get caught in the claws of ‘Krampus’ below.

Talking about writing the horror-themed Christmas track in the blistering heat during summer 2020, the frontman Alex Moore said, “It was about halfway through the first lockdown when Johnny played the bass line in rehearsals and I thought it sounded like a Christmas song”, explaining, “Scott and I had been round at his house watching the ‘Inside No. 9’ christmas special, which is where I found out about the horror of Krampus. If we were to do a Christmas song, I wanted to do it with that dark side”, to the press. The band have been an unexpected hit with mainstream audiences this year, and so ‘Krampus’ feels like their final ‘Thank You’ to all of the fans who have supported the 4-piece through the period of breakthrough while also adding another feather or two to their cap. Beginning with a jaunting guitar line with a Brit-Pop vibe that reminds me of Supergrass and The Charlatans, the band sour the sherry trifle of Santa with lyrics like “No one can hear my call/Consuming all the voices” and “You’d better not cheat and you’d better not cry/and you’d better not lie, I’m telling you why/Santa ain’t coming this year” as they establish the tone as a track written from the perspective of the mythological character that ruins the season. Later lyrics like “Cause we live in Wigan where the carolers will be singing/And they’re sheltered by the rain” switches this viewpoint for something more sentimental and uplifting. Meanwhile, there’s a Baroque influence in how Moore performs his own backing vocals that reminded me of Panic! At The Disco, a comparison also made clear by the fast and rhythmic poetry of the lead vocals in most areas. Lyrics like “Your Christmas will be cancelled anyway/You might as well enjoy your time today” take small jabs at how Covid-19 has impacted the season too. As a complete package, it feels like The Lathums have got into the spirit of the season enough despite the faintly dark atmosphere of the subject matter, with some quick skiffle beats and some Jangle-Pop influences where the Acoustic guitars feel heightened and the drums were speedily produced. For me, It didn’t really capture the horror-centric essence of the ‘Krampus’ character as such, but it is pulled together by some neat guitar riffs and the nimble creativity of Moore’s quick and quintessentially British vocals and, lyrically, this is competent. I actually felt as though I enjoyed it more than some of the band’s more standard material because it stood apart from other popular UK indie acts more with the wordplay vocals and the old-school 60’s instrumentals. While associated with the darker side of Christmas, ‘Krampus’ is a fun and fast alternative to the light-hearted and commercial Christmas fare that we’re more used to that could be filed alongside ‘Sleigh Ride’ or ‘White Christmas’ with no trouble on UK radio. I just hope I won’t be hiding under the sofa from Krampus after pressing play on it, as to summon his wrath.

Pictured: Alex Moore (Lead Vocals/Chief Songwriter), Scott Concepcion (Multi-Instrumentalist), Johnny Cunliffe (Bass Guitar/Backing Vocals) and Ryan Durrans (Drums/Percussion) (2021) (Photo Credit: XSNoise.com)

If you liked reading about ‘Krampus’, here’s another track on the blog by The Lathums to tide you over by: https://onetrackatatime.home.blog/2021/09/09/todays-track-the-lathums-ill-get-by/

Pictured: Cover Art for ‘How Beautiful Life Can Be’ (LP) (Available from September 24, 2021) (via Island Records)

That’s all for today! I hope that you receive a nice card and not a lump of coal from Krampus this year, and I’ll be back tomorrow to squeeze in another ‘Countdown To Christmas’ post before the moment has gone. My next pick was a great recent discovery, as the song comes from a multi-talented musician who is also a film and TV actress. You may have seen her in the role of Snakebite Andi in the recent ‘Doctor Sleep’ adaptation based on the book by Stephen King. She’s also appeared in Hulu’s ‘Future Man’ and ‘The Babysitter’ duology of films found on Netflix – as well as acting in the recent reboot of HBO’s ‘Gossip Girl’. She has two sisters who are also actresses.

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