Countdown To Christmas 2021: Frightened Rabbit – “It’s Christmas, So We’ll Stop”

November 20, 2021 — Leave a comment

Pictured: Cover Art for “It’s Christmas, So We’ll Stop” (Released on Dec. 15th, 2008) (via FatCat Records)

Good Morning to you! You are reading the words of Jacob Braybrooke, and it’s time to grab your Gingerbread Latte to sip along with as we continue our ‘Countdown To Christmas’ today, which I’ll be leading because it’s always my day-to-day pleasure to write about a different piece of music every day! A Scottish indie folk band who were formed by Scott Hutchinson, who originally began the group as a solo project, in 2003 – Frightened Rabbit were a band who released five albums, two EP’s, two live albums and ten singles to critical acclaim, which allowed the band to develop a large cult following that is still avid to this day. There is a sadness to the band, however, as Hutchinson fell ill and he went missing on a terrible night in 2018, where his body was later found dead near Port Edgar, South Queensferry. Based in Glasgow from 2004, the band were also known for their frequent collaborations and extensive touring with Aaron Dessner, a multi-instrumentalist from The National. Frightened Rabbit’s work has been released across Fat Cat Records and major label Atlantic Records, and the strongly reviewed 6-piece were also well-liked for their regular charity work with the Invisible Children Inc. music coalition project. Hutchinson, alongside his brother Grant Hutchinson, also worked with Justin Lockey (Editors) and James Lockey (Minor Victories) on their side project Mastersystem. Mainstream-wise, Frightened Rabbit were perhaps best known for 2013’s ‘Pedestrian Verse’, which reached #9 on the UK Albums Chart. However, their final album, 2016’s ‘Painting Of A Panic Attack’, which included the particularly good single ‘Get Out’, was my personal favourite. In 2008, they got into the seasonal spirit with ‘It’s Christmas, So We’ll Stop’. Let’s give it a spin.

Scott Hutchinson released an original mix of ‘It’s Christmas, So We’ll Stop’ as solo material in 2007, before he reworked the track with expanded instrumentation and additional production for a re-release the next year. He said, “It’s Christmas… is about people deciding to be pleasant to one another for about a day, regardless of whether or not they actually get along the rest of the year”, adding, “I feel it’s maybe healtheir to live a little more consistently (not that I do), but often humans need excuses to be nice and giving and loving to one another, and Christmas is one of those times, for better or worse”, to the Vinyl’s product description. At just over five minutes in length, Hutchinson encourages a ceasefire for hatred over the top of some swelling String sections, a melancholic lead guitar hook, some softly psychedelic backing vocals that feel warm in texture, and some gradually building Drum rhythms. Lyrics like “As the rot stops for today, Let the rot stop for just one day” touch on restraining the disillusionment and sensual assault that comes with the excess of the holiday season. Later lyrics, like “‘Cause the wine on our breath puts the love on our tongues”, touch on product overindulgence and throw shade at commercialism a little, while vaguely spotlighting the community of Christmas as the main theme. The final refrain of “The next day, life went back to its bad self” hints towards the hostilities of the wider world being resumed after the big day of December 25th. While treading familiar ground for a Christmas single, in terms of the key material discussing the halting of arguments and the easing of tension that it all brings, Hutchinson manages to polish everything in a neat way. His vocal delivery feels sharp and piercing at times, giving off the idea of the knives being put down for the single day but also suggesting a warmer armistice, and it introduces a raw element of melancholy and a sense of foreboding to the instrumentation. The soundscape, as a result, is full of musical diversity. It is slightly charming and witty in a black comedy format, but it’s also a little sombre and downtempo, all while maintaining an uplifting quality in the spirit of the religious season. It feels very frank, with the blend of orchestral and acoustic instrumentation complementing his variety of tones as the songwriting develops in a way that’s gradual. It is one of the most poignant, yet realistic, festive songs out there.

Pictured: Scott Hutchinson (Lead Vocals/Acoustic Guitar/Writer), Billy Kennedy (Lead Guitar/Keyboard). Andy Monaghan (Rhythm Guitar/Backing Vocals), Simon Liddell (Bass Guitar) and Grant Hutchinson (Drums/Percussion/Occasional Backing Vocals) (in 2013) (Photo via RedBull.com/Atlantic Records)

That brings us to the end of our trimming of festive output for this week! Please join me again tomorrow for ‘Scuzz Sundays’, as we take a listen to a Pop-Punk anthem from a well-known California-formed rock band who bonded over their love of music on the football pitch and they recorded one of their albums in the Paramour Mansion.

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New Album Release Fridays: Bears In Trees – ‘Little Cellist’

November 19, 2021 — Leave a comment

Pictured: Cover Art for ‘And Everybody Smiled Back’ (LP) (Released on November 19, 2021) (via Counter Intuitive Records)

Good Morning to you! You are reading the words of Jacob Braybrooke, and it’s time for us to delve deeply into one of this weekend’s most intriguing new LP releases, because it’s always my day-to-day pleasure to write up about a different piece of music every day! While Jessy Lanza will be releasing her ‘DJ-Kicks’ compilation this week and Kaytranada will be releasing his ‘Intimated’ EP today, new albums from the likes of Elbow and Deap Vally are likely to get overshadowed this week by the media attention that the week’s heavy-hitter, Adele, will be receiving from the release of her new album ’30’. Therefore, I’ve decided to provide another alternative option for you to explore this weekend. ‘And Everybody Smiles Back’ is the highly anticipated debut studio album from the Croydon-formed indie rock group Bears In Trees, who have been signed to the Boston-based label Counter Intuitive Records. With a large social media following of over 100,000 followers on Instagram and over 20,000 via Twitter, the band are seemingly poised for bigger things in the near future. The project is led by producer George Berry, who graduated from the Academy Of Contemporary Music with a first class honours degree in Professional Music Production. He’s joined by bassist/lead vocalist Ian Gillespie, classically trained flautist Callum Litchfield and songwriter/guitarist Nick Peters, who runs the majority of the band’s social media pages. Having just embarked on their long-delayed debut headline UK tour and supported NOAHFINNCE on a previous tour, Bears In Trees are keeping proceedings fresh by developing their new record as a concept album which tells stories of the day after the best or worst day in a person’s life, and each of the songs featured on the LP tells anecdotes being pulled from the band’s actual lives. Speaking about the unique concept, Nick Peters says, “In films and TV series, the plot line ends on the best or worst days of someone’s life and that we never really get to see the day after”, adding, “I think it’s important because the day after is where the healing and compassion happen”, in a press statement. Let’s check out their recent single, ‘Little Cellist’, below.

Commenting on ‘Little Cellist’, Iain Gillespie says: “This is a story about me and a good friend of mine. She plays Cello. She found me in a god-awful state, which finally began my treatment journey for my mental health”, describing, “I was lying on the floor of the student union building; me finally opening up to her allowed her to open up to me and we became each other’s shoulder to cry on, and she kept me safe during some very hard times”, in Bears In Trees’ press release. Bridging Spoken Word sections and poetry with a more conventional Indie Folk template, ‘Little Cellist’ is a narrative-driven tale about seeking hope and purpose through a common experience, with lyrics like “She often held in her intrusive thoughts for fear/That the weight of her worries was too much for him to hear” that discuss difficulty in speaking your mind truthfully, in the way that Brits do as we say what we don’t mean in terms of dialect. Later refrains, like “She quelled her anxiety to calm her fading friend” and “The ambulance rolled up like his limousine/To take him to a place where he reigned supreme”, mix a sense of whimsicality with more hard-hitting content in terms of narrating the story. The instrumentation is kept rather simple and concise, as floating Piano lines and brief String sections provide a slightly cinematic, uplifted underlayer to the rustic, heartfelt acoustic guitar melodies. The Spoken Word sections feel intriguing, as they provide a dream-like feel to undercut the set-up for the narrative and ensure some more variety to the songwriting. The lyrics are nice and easy, with a clear theme being communicated by a blend of poetry and contemporary Indie Rock production. Later lyrics like “Even Jesus Christ himself needed help to bear his cross/Please feel free to lean on me if the world becomes too much” tend to go darker in tone, recited with a delivery that reminds me of Jarvis Cocker in its mix of sardonic wit and emotional storytelling. When all of these parts are merged together, you get some story-based indie rock that feels crowd-pleasing and accessible, yet feels a little more complex in practice than your average release. Therefore, it feels like a sensible choice for a single. Overall, this was an engaging blend of sardonic storytelling and spoken poetry that carries a similar message to other mental health-based tracks, yet it still sets itself apart well enough because there’s an individual personality behind it.

Pictured: George Berry (Producer/Drums/Percussion), Ian Gillespie (Lead Vocals/Bass Guitar), Callum Litchfield (Ukulele/Piano/Backing Vocals) and Nick Peters (Lead Guitar/Chief Songwriter) (2019) (via PR)

That’s everything that I’ve got planned for today on the blog! Thank you very much for your support, and I’ll be back tomorrow to continue leading you through our ‘Countdown To Christmas’ series on the site. If you check it out, you’ll be treated to an alternative festive single from a Scottish indie folk band who were active until 2018, where the lead singer was presumed to have sadly lost his life after going missing. However, they were known for their work with the Invisible Children coalition project.

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Today’s Track: Confidence Man – ‘Holiday’

November 18, 2021 — Leave a comment

Pictured: Janet Planet, Sugar Bones, Reggie Goodchild and Clarence McGuffie (2019) (Photo via PR)

Good Morning to you! My name is Jacob Braybrooke, and it’s time for me to ensure that yet another daily track on the blog bursts your eardrums in spirit, because it’s always been my day-to-day pleasure to write up about a different piece of music every day! A quirky Alternative Dance group, led by the wacky characters of Sugar Bones and Janet Planet, the Brisbane native indie pop band Confidence Man have continued to find success throughout their musical journey since their debut album, ‘Confident Music For Confident People’ brought their dorky concoction of costumed rhythms and lightly acidic beats to the international club circuit in 2018. The band have found themselves performing at many festivals like Splendour In The Grass Festival and Falls Festival, while also remixing the likes of DMA’s, Working Men’s Club and Erasure over the years. They have also received wins and nominations at the AIR Awards, J Awards, National Live Music Awards and Queensland Music Awards over the years since they became active in 2016. Although singles like ‘Does It Make You Feel Good?’ and ‘First Class B**ch’ have filled the gap a little, Confidence Man have just announced their first album in four years. Their second studio album, ‘Tilt’, will be released on April 1st, 2022 via the I OH YOU label. According to a press release, the new album is “fierce, flirty and full of anthems” and listeners “might need to sit down before you hit play”. Back in September, Confidence Man also unveiled an extensive run of rescheduled and new tour dates across the UK and Ireland that will hopefully start in May of next year. The list includes dates in Brighton, Cambridge, Norwich, Nottingham, Edinburgh, Sheffield and more. Before then, let’s book a ‘Holiday’ below.

Talking about the inspiration behind ‘Holiday’ – the Aussie dance outfit’s latest euphoric anthem – Janet Planet stated, “No one tells Confidence Man what to do. Who said a holiday can’t last forever?”, explaining, “Spend big and live free, that’s our motto. And it can be yours too. A vacation is just sunburn at premium prices but a holiday is a state of mind”, in her joint press notes with Sugar Bones. Elaborating on the ideas of holiday and relaxation as a mindset instead of a physical destination, Planet and Bones join their fellow bandmates in conjuring slightly acidic Synth beats and some high tempo Drum rhythms to the tune of lyrics like “Best weed back on the block, I’ll take it” and “When I was a child, I was so naked” that creates the distinctly nerdy and comedic attitude that Confidence Man are known for evoking. The instrumentation continues to add some variety to the proceedings, with a lengthy sequence of backing harmonies in the opening sequence and some 80’s film soundtrack-esque Synth stabs to create silky ambient washings in the closing sequence, continuing to give off a light-hearted and care-free Summer formula. The vocal hooks are super sized, with the likes of “I live it up on the go/I’m getting high, I’m never low” and “Kicking off and I lose control/I’m born to fly/I want it all” being recited quickly, as to match the frivolous energy of the Acid Disco rhythms and neatly aligned basslines. While there’s no subtlety to the vocals, the brief String sections and the stinging Synth stabs are complemented by the floor-filling feel of the sound. A decent reminder that Confidence Man are all about having fun, ‘Holiday’ is a familiar summer anthem to see their own country of Australia throughout the summer months. Due to this ‘summer release’ feel, however, it feels a little odd when you are listening from the rest of the world as the rain gets frequent and the bitterness of the cold keeps sharpening. This also feels a bit more straight-faced than usual from the group than usual, although they’re still donning some Synths that wouldn’t sound out of place on the ‘Top Gun’ soundtrack. Despite not being in season for me, this is still a solid return from Confidence Man. Camp, unique and irreverant, ‘Holiday’ is everything you might want (and expect) from the forward-thinking Australian project.

Pictured: Janet Planet and Sugar Bones in a promotional photoshoot (in 2019) (Photo Credit: Zac Bayly)

If you liked the sound of ‘Holiday’, you may like the various other tracks by Confidence Man that have appeared on the blog over the years at various points. If you want something still recent, you can check out my review of ‘First Class B**ch’ here: https://onetrackatatime.home.blog/2020/10/20/todays-track-confidence-man-first-class-bh/. If that doesn’t mate you feel right, you can see if this ‘Does It Make You Feel Good’ here: https://onetrackatatime.home.blog/2020/02/26/todays-track-confidence-man-does-it-make-you-feel-good/. Or, for something more in tune with the festive season, you can view their seasonal single ‘Santa’s Comin’ Down The Chimney’ here: https://onetrackatatime.home.blog/2019/12/04/todays-track-confidence-man-santas-comin-down-the-chimney/

Pictured: Confidence Man performing at ‘The Great Escape’ (2017) (Photo via Brighton & Hove News)

That’s all for now! I hope that you enjoyed the trip, and thank you for continuing to support my content like this. I’ll be back tomorrow for ‘New Album Release Fridays’, as we divert our attention to an indie rock band from Croydon in South London who have been signed to the Boston-based label Counter Intuitive Records. They have toured in the UK with NOAHFINNCE and they went on a debut headline tour this year.

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Countdown To Christmas 2021: Norah Jones – ‘A Holiday With You’

November 17, 2021 — Leave a comment

Pictured: Cover Art for ‘I Dream Of Christmas’ (Released on October 15, 2021) (via Blue Note Records)

Good Morning to you! I’m Jacob Braybrooke, and I’m asking you to allow me to be the elf on your musical shelf for yet another festive 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! As I was researching new Christmas music for exposure on the blog, I was prioritizing in finding something original to show you, rather than going for cover versions. The wish has been partially met by the Manhattan-born Jazz vocalist, songwriter and pianist Norah Jones, who has seemingly got into the seasonal spirit pretty early this year, as she released her new holiday album, ‘I Dream Of Christmas’, in October via the iconic Jazz label Blue Note Records. I was also suprised that I hadn’t previously heard of Norah Jones, who has won nine Grammy Awards and she was named as Billboard’s top Jazz artist of the 2000’s in 2013. She has sold over 50 million albums worldwide, and she made her feature film debut as an actress in 2007’s ‘My Blueberry Nights’, a film that was directed by Wong Kar-Wai. What is wrong with me, then? Anyhow, Jones is also the daughter of the Indian sitar legend Ravi Shankar and the concert producer Sue Jones, and so she is also technically a member of the rich Shankar heritage of musicians. She has yet to release a holiday album until this point, and the record features a mix of cover versions and original material. Renditions of ‘Winter Wonderland’ and The Chipmunks’ ‘Christmas Don’t Be Late’ are therefore joined by native festive tunes like the album’s opening single, ‘Christmas Calling (Jolly Jones)’ and prior single ‘Christmas Glow’. Another original ballad that meets your ears on Jones’ eighth LP is ‘A Holiday With You’ – which you can check out below.

Jones began to draft ideas for ‘I Dream Of Christmas’ together when she was listening to Christmas albums by Elvis Presley and James Brown last year, and Jones began writing her original material as soon as the period ended in January 2021, which she says gave her something fun to work on and look forwards to. She also says, “When I was trying to figure out which direction to take, the original songs started popping in my head. They were all about trying to find the joys of Christmas, catching that spark, that feeling of love and inclusion that I was longing for during the rest of the year” in her album’s description. Opening with a gentle Piano melody that changes chords, Jones uses expressive vocals like “Winter isn’t easy when you’re holding back the tears” and “Just you and I, a starry sky/And nothing else to do” to set the scene, giving the rhythm guitar melodies a languid feeling and then introducing some mellow Horn sections into the mix. Later lyrics, like “Would you be happy with a holiday in bed/With covers over head” and “Your heart is lost, inside a frost/I’ll give you mine instead” are veering more towards romantic and wistful, even occasionally flirtatious and ever so slightly sensual, suggestions. The chorus finds Jones continuing to express a deep desire for a sense of companionship in the season atop some muted percussion and chiming Piano chords, while the overall production is very stripped back and intimate, revealing some light emotions more alike to a perennial roasted Chestnut within the season instead of one that reveals upmost joy, necessarily. Overall, Jones does an excellent job of using her classical Jazz origins to immediately put her own Christmas stamp on this rare original recording, which feels a little subdued and restrained in comparison to your most typical Christmas songs. It feels warm yet bright, and it makes for a pleasant alternative to your usual festive playlists.

Pictured: Norah Jones performing at the Alte Oper Opera House (2012) (Photo Credit: Paolo Gianti)

That’s all for now! Thank you for snuggling up to the fire in tune to another festive track with me today, and I’ll be back tomorrow with an in-depth review of some exciting new music from a Brisbane-formed dorky group who explore the genres of Dance, Acid Pop and Indietronica in their music. They have performed at festivals including Splendour In The Grass Festival. They have also received nominations at the Queensland Music Awards, National Live Music Awards, J Awards and the AIR Awards.

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Today’s Track: White Lies – ‘As I Try Not To Fall Apart’

November 16, 2021 — Leave a comment

Pictured: Cover Art for ‘As I Try Not To Fall Apart’ (LP) (Available from Feb 18, 2022) (via PIAS Recordings)

Good Morning to you! You’re tuned into the words of Jacob Braybrooke and it’s time for another quick daily track on the blog, because it has always been my day-to-day pleasure to write up about a different piece of music every day! The calendar for a new year of album releases seems to be filling up all of a sudden, with the likes of Charli XCX and Metronomy set to issue anticipated new long-players in the early months, but the Ealing-based Post Punk Revival group White Lies, who were originally formed as Fear Of Flying in 2007, are yet another cog in the machine of 2022 releases. A band who gained popularity at a similar time to their peers of Editors, The Pigeon Detectives and The Bravery, White Lies have survived the ‘Indie Distortion’ of the 00’s as a critically acclaimed live act. Their debut album, ‘To Lose My Life’, was a number one hit on the UK Albums Chart in its first week on sale, and they were also recruited for BBC’s ‘Sound Of 2009’ poll, and nominated for the BRIT’s Critics Choice Award. They are shortly going to issue their sixth LP, ‘As I Try Not To Fall Apart’, which they recorded within two studio sessions at the Assault & Battery and Sleeper studios in their homestead of London, where they resumed their partnership with frequent collaborator Ed Buller as their engineer. It was also co-produced and mixed by Cladius Mittendorfer, who has previously spent time behind the decks with Panic! At The Disco and Weezer. The title track and lead single, ‘As I Try Not To Fall Apart’, is our first taste of the record, which the Indie Rock trio describe as their most ambitious project yet. It has been accompanied by a music video directed by James Arden, which finds vocalist Harry McVeigh embossed in an hourglass of sinking sand. They will be touring the UK and Europe in Spring of 2022, and the accomplished new single explores the anxieties of modern masculinity in a mental health position. Let’s give it a spin below.

“We wrote this song quickly, late at night, and often the songs which come quickest are written from the gut and the heart, not with the head”, the band collectively say about their latest single, noting, “We wanted the melody to feel like a hymn, to give the confessional lyrics weight despite being wrapped up as a Pop song. It’s about accepting vulnerability as a man, and knowing it’s ok to be broken. There’s never been a more pressing time to spread the message that it’s ok to not be ok”, in their press statement to announce their forthcoming full-length album. Built on an intoned, Synth-enhanced drum groove that should be familiar to fans of Joy Divison or Interpol, bands that White Lies have cited as their inspirations, McVeigh reflects on the strength that modern men are pressured to conform to, with lyrics like “It’s not the way a man like me behaves/It’s not the way the world would make me play my part” in the chorus, and the opening refrain of “Am I a faulty kind of man so tender in the heart?” says a lot about how the band view the stereotypes of men being quiet and well-composed, somewhat cold and emotionless, in British society. Meanwhile, the instrumentation decorates the scene with glistening, 80’s New Wave Synth hooks and a vocal delivery that feels silky, but the brooding evocations of the lyrics are still a little bleak and colder than your average Pop/Rock record. It feels a little gothic and dark, which is representative of the band’s earlier work, while also giving the hooks a more distinctly airy sound. They follow a conventional Pop/Rock structure, with the bright tonality of the Synths counteracting the more harsh, aggressive guitar-led beats. It walks a delicate tightrope between 80’s Pop and Post-Punk, and, thankfully, it is a tightrope that White Lies walk confidently. In fact, given how I haven’t seen the trio to be particularly relevant in recent years, I was suprised how much I enjoyed this new track and that’s because I personally really, really enjoyed it very much. This is very catchy Post-Rock music that feels influenced merticulously by the band’s own late-00’s image and the likes of Tears For Fears from the 80’s. It manages to fulfill the ‘Indie Dancefloor’ niche of their genre, while the post-modern existentialist lyrics within the songwriting give you something more to feel and think about that resonates beyond the commercial accessibility of the new track, and so it feels brooding and bleak enough to please Post-Punk fans while reeling in some audiences who may typically steer away from the Alternative Rock scene. Overall, this was an excellent single that feels catchy and easy to access yet intriguing, as with each listen, I can find something new to come to light that I may have skipped beforehand. While it is perhaps not likely to tip the planet over on its axis, this was a solid and engaging single from a band who simply know what they’re comfortable with doing and what to give their fans, and stick to it well, while gradually evolving their style with subtlety.

Pictured: Harry McVeigh (Lead Vocals/Rhythm Guitar), Charles Cave (Bass Guitar/Occasional Backing Vocals) and Jack Lawrence-Brown (Drums/Percussion) (2017) (Photography by Red Light Management)

That’s all for now! Thank you for joining me on the blog today, and I’ll be back tomorrow for the newest entry in our ‘Countdown To Christmas’ feature, as we look at some Festive music that’s new and original, coming from an American Singer-Songwriter and Pianist who has won nine Grammy awards and she was ranked 60th on Billboard magazine’s artists of the 2000’s decade chart. She also made her acting debut in the 2007 movie ‘My Blueberry Nights’ – which was directed by Wong Kar-Wai.

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Today’s Track: Caroline Loveglow – ‘Happy Happy’

November 15, 2021 — Leave a comment

Pictured: Caroline Loveglow in a PR photoshoot for Flood Magazine (2021) (Photo via 100% Electronica)

Good Morning to you! You are reading the words of Jacob Braybrooke, and it’s time to get groovy (It’s possibly best that I don’t use that one again) for your daily track on the blog, because it has always been my day-to-day pleasure to write up about a different piece of music every day! Known for exploring psychological and romantic anxieties in her melodic Dream Pop music, the LA-based multi-instrumentalist and songwriter Caroline Loveglow is a brand new artist who impressed George Clanton and his fellow PR executives at the 100% Electronica label so much with ‘Patience Etc’, her debut single, that they dissuaded her from uploading it to the internet so they could release it properly on their platform. They will be issuing her debut album, ‘Strawberry’, on February 22nd, 2022. Growing up in San Diego, Loveglow developed a love for music and poetry from the age of 12 that was inspired by the textured, emotional rock music that her mother would play to her from Neil Young and Radiohead, and she’s also been influenced by her own passion for her favourite 80’s band, The Cure. Her earliest material was short poems that she’d set to a few chords in her bedroom as a teenager, and this was just her own individual way of exploring the complexities of the world. ‘Happy Happy’ has accompanied the details of her upcoming album and it is just her second single to ever get released. On the single, she grapples with the weight of self-doubt and her indecision. Let’s check out the chatroulette-styled official video below.

“Happy Happy is an ode to escapism”, Caroline Loveglow states in her press release, explaining, “I started building the track with the main guitar line, stayed awake all night until I had the demo completed and a version of what I was hearing in my head. I just wanted the song to feel like this momentous release that I never got to experience in my real life at the time”, in her notes. Kicking off with some Synth-enhanced guitar riffs and layering a Shoegaze-inspired sound atop a tight drum groove, Loveglow tells us to “Take your time, would you sleep inside my mind tonight?” with the aid of some swelling Synth pad work and some hypnotic Pop melodies to keep the upbeat mood of the tone flourishing, and she adds a hearty dose of reverb effects to her own vocals to reflect the story of laborious love that she discusses in the lyrics, and the slow attempts that she makes to grow a relationship with a new partner. The track feels calm and whimsical, with some songwriting that feels precise and punctilious. There’s enough of a punch to the hooks to make proceedings feel catchy and infectious, but she decorates the Indie Pop soundscape with some elements of Vaporwave and Chillwave that introduce some Lo-Fi instrumentals to the mix. It also feels a little Grunge-inflicted in the verses, with a little bit of distortion and some unearthly Drone vocals that are sometimes difficult to truly identify, but they contribute to the nocturnal and swirling sounds of the overall production quite smoothly. This one also reminds me a little bit of Cocteau Twins in how the instrumentation feels drowned in a haze, with some psychedelic guitar riffs and some wistful Synth sequences that feel comforting. Overall, ‘Happy Happy’ was an enjoyable single that sounded like a decent mis-mash of other bands and genres, with some 80’s New Wave influences and subtle nods towards Shoegaze that keeps things feeling eclectic enough to be memorable, despite a conventional structure that keeps everything in the Pop wheelhouse. A crowd pleasing Synth-Pop taster for more.

Pictured: Cover Art for ‘Strawberry’ (LP) (Available from February 25th, 2022) (via 100% Electronica)

That’s all for today! Thank you for reaching the bottom of the page as usual today, and I’ll be back tomorrow with another brief review of a new single from another act who will be releasing a new album next February, albeit a name that may seem a little bit more familiar to casual viewers of the blog. This Ealing-based Post-Punk revival band were originally formed as Fear Of Flying in 2007 and their debut album, 2009’s ‘To Lose My Life’, was a number one hit on the UK Albums Chart. They were also seen in BBC’s ‘Sound Of 2009’ poll and were nominated for the BRIT’s Critics Choice Award.

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Scuzz Sundays: Hoobastank – ‘Out Of Control’

November 14, 2021 — Leave a comment

Pictured: Doug Robb (Lead Vocals), Dan Estrin (Lead Guitar/Backing Vocals), Jesse Charland (Keyboard/Bass Guitar) and Chris Hesse (Drums) (2013) (Photo by http://www.hiddenjams.com/)

Good Morning to you! You are reading the words of Jacob Braybrooke, and it’s time for us to delve back into 90’s-00’s Pop-Punk territory for yet another edition of ‘Scuzz Sundays’ on One Track At A Time, the music blog where it’s always been my day-to-day pleasure to write up about a different piece of music every day! If you were to name a list of acts with wacky or purely silly names, the likes of Chicano Batman and Bowling For Soup would probably ring the most bells. Somewhere near to the top of the list with them, however, would have to be the Agura Falls native Rock band who are still known as Hoobastank. The band did pretty well for themselves, meanwhile, by scoring a wide range of sync deals in popular culture and selling their way to over ten million units worldwide with crossover chart hits like ‘The Reason’, which we previously covered in the blog upon the dreadful Covid-damaged season of last March, to a pretty negative reception from myself, to be honest. It has been over a year since that time, however, so it’s time to see if we get more positive results this time around. An understandable pick to do so would be ‘Out Of Control’, the lead single from the band’s most well-known album, ‘The Reason’, which was their third full-length studio album release in 2004. It charted at #16 in the US Hot Mainstream Rock Tracks Chart and at #9 on the US Hot Modern Rock Tracks chart. The single also features backing vocals by Ian Watkins and Jamie Oliver, two prior members of the controversial Welsh alternative rock band Lostprophets. It was also featured in the soundtrack for a few video games, including ‘Backyard Wrestling 2: There Goes The Neighbourhood’ as well. Let’s remember the Nathan Cox-directed music video below.

Now a multi-platinum selling group with three Grammy Award nominations under their belt, Hoobastank decided to give ‘The Reason’ a 15th anniversary re-release to celebrate their success in 2019, which was printed on both standard black and limited edition white Vinyl, and it featured four previously unavailable bonus tracks as well as an exclusive acoustic version of the album’s title track. ‘Out Of Control’ was included on the record, and the lyrics follow the narrative of a person who has gone out of control in a downward spiral after blindly following the orders of someone else. Sequences like “Try to focus but everything’s twisted” and “All alone I thought you would be there” are very straight to the point and explicit in their meaning, with lead vocalist Doug Robb musing on distrust and confusion, while lyrics like “Where should I go? What should I do?/I don’t understand what you want from me” are more focused on seeking of purpose and looking for answers to alleviate your pain and suffering. He reminds me of Faith No More’s Mike Patton in terms of his screeching delivery when he breaks down the title of the track in the chorus. Musically, the instrumentation blends a decent variety of heavy styles because the verses are a little familiar to Nu-Metal fans, the chorus goes for more of a rousing pure Pop style, and the bridges touch upon some Post-Grunge effects leading to a pre-chorus which screams Foo Fighters to my ears. Backing harmonies pop up from time to time, and the backbeat feels grittier in mood than the more Rap-Rock delivery of the post-chorus. In terms of my opinion of the track itself, I found the chorus to be relatively catchy and the instrumentation to seem perfectly fine, with a decent lead guitar performance from Dan Estrin elevating the aggressive, strong vocals from Robb to a more memorable degree. The problem, however, is that everything feels pretty in-your-face and there’s no subtlety to make the songwriting feel a little more profound. This is certainly not designed to be high art, but the lyrics feel so direct to the point where there’s nothing vaguely interesting to take away from them at all. That said, the drum beats feel very brash and the Power-Pop chorus are complementing the overall style in a way that feels solid, and so the track holds together reasonably well despite some flaws that I have with the songwriting. Overall, I much preferred ‘Out Of Control’ to ‘The Reason’, which I covered on the blog last year, as it was a fun track to listen to that, despite feeling very of-its-time, has some decent performances from the band members who all play their instruments to the Grunge-inspired formula of the track pretty nicely. I just wish the lyrics weren’t so plain and bland, as it could have been better in that regard, but it is still a fair improvement. We were just about over half of the way there.

Pictured: Hoobastank playing at Shepherd’s Bush Empire, London (2019) (Photo by Connie Taylor)

If you need an excuse to check out some of Hoobastank’s music, you have ‘The Reason’ here: https://onetrackatatime.home.blog/2020/03/22/scuzz-sundays-hoobastank-the-reason/

Pictured: Cover Art for ‘The Reason’ (LP) (Released on April 26th, 2004) (via Island Records)

Thank you for reading my latest blog post and thank you for your continued support by reading the site each day or discovering the blog for the first time today. I’ll be back tomorrow with music from a Los Angeles-based artist who is releasing her debut LP in February. She has currently signed to 100% Electronica – George Clanton’s label.

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Countdown To Christmas 2021: Elle King – ‘Please Come Home For Christmas’

November 13, 2021 — Leave a comment

Pictured: Elle King backstage at GMA’s ‘Summer Concert’ series (2017) (Photo by David Crotty/Getty)

Good Morning to you! You are reading the words of Jacob Braybrooke, and the time has arrived for our first festive post of the new year’s holiday season, and that’s also because it’s always been my day-to-day pleasure to write up about a different piece of music every day! The John Lewis advert is out. The supermarket shelves are full of tat. The Hallmark movies are now showing on TV almost each day and everybody’s sharing a list with an item or two. That can only mean one thing: It’s here again for another year. Whether you still think it’s too early or not is up for debate, but since this is me writing the blog and planning a post out every single day, I’ve decided that it’s time to start looking at different artists who are getting into the seasonal spirit as we begin our own ‘Countdown To Christmas’ series of Christmas-themed posts on the blog, which will be spread throughout the next seven or eight weeks, or so. We’ll be listening to a variety of on-brand Yule tracks, both new and old, that will provide alternatives to the yawners from Sir Paul McCartney and Elton John that we seem to get over-exposed to every single year, while sharing the same goal of injecting some Christmas flair into your streaming playlists. My first exhibit of the season this year is Elle King, an LA-born multi-instrumentalist and singer songwriter who is the daughter of the comedic actor Rob Schneider and the former model London King. You may remember her from scoring a big hit in the mainstream with ‘Ex’s & Oh’s in 2017, a track which reached #15 in the UK Singles Chart and the top ten in the US charts. She’s also known for her collaboration, ‘Drunk’, which she performed with Miranda Lambert, a single which has racked up over 150 million streams worldwide. She has also toured with acts like James Bay, Joan Jett, Of Monsters & Men, Michael Kiwanuka and Train. Check out her new rendition of ‘Please Come Home For Christmas’ below.

To tell the truth with you, when I first heard Elle King’s version of ‘Please Come Home For Christmas’ a week ago, I had never heard of the track before at all and it was only when I was researching some information for this post that I learned that it’s a cover version of an ancient and traditional Christmas R&B recording. It was originally performed by legendary Blues pianist James Brown in 1960, which he co-wrote with Gene Redd, and it reached #76 on the US Billboard Hot 100 chart in December 1961. Since then, it has been covered by the likes of Bon Jovi, Kelly Clarkson, The Eagles, Willie Nelson, Josh Gracin, Gary Allan and Lee Roy Parnell. Elle King is just the latest to join their ranks and, hopefully, put a fresh spin on the original version. She does so with her mid-pitched crooning and sultry guitar melodies that feel representative of her Country-leaning solo material, while also keeping the Jazz element of the original track intact. Lyrics like “Oh, what a Christmas to have the blues/My baby’s gone, I have no friends, To wish me greetings once again” discuss the melancholy felt by those people who spend Christmas alone and apart from loved ones, while the later verses show a more optimistic take on simply enjoying the festivites of the time of year, as sequences such as “Choirs will be singing/Silent night/Christmas carols, by candlelight” and “Friends and relations send salutations/Sure as the stars shine above” trade the longing and agony of the opening verse for feelings of anticipation and contentment, as the final hook of “No more sorrow, no grief and pain/I’ll be happy, Christmas once again” draws things to a naturally mood lifting conclusion. This was a decent take on the original carol because Elle King manages to modernize some of the widely universal themes of the old 1960’s recording and King sounds absolutely accessible to a casual, very easygoing audience of listeners. While her take didn’t really suprise me in any way or did something that I’m likely to remember for that long, regrettably, this was perfectly fine and enjoyable to listen to as it sounded pleasant and it has a solid, calm vibe going on. A cheerful carol, with an air of Amy Winehouse to it, that everyone can find relatable if heard by all of the family at dinner.

Pictured: Elle King in an official photoshoot for Teen Vogue (2013) (Photography by Matthew Kristall)

That’s the only trick that I’ve got left in my stocking of seasonal strains for today! I’ll be back tomorrow for more of the same ‘Scuzz Sundays’ shtick as we look back at one of the Pop-Punk era’s memorable anthems of the late-90’s to mid-00’s era to see if it can hold up to some quality and value tomorrow! On the chopping block this week is an Agura Hills-formed Post-Grunge band with a silly name who haven’t appeared on the feature since March of 2020 – when the global lockdowns began. Known for hits such as ‘The Reason’, the Californian band have sold over ten million albums globally.

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New Album Release Fridays: Courtney Barnett – ‘Before You Gotta Go’

November 12, 2021 — Leave a comment

Pictured: Cover Art for ‘Things Take Time, Take Time’ (LP) (Released on November 12, 2021) (via Mom + Pop Records)

Good Morning to you! This is Jacob Braybrooke, and it is time for us to delve deep into one of the weekend’s most exciting new LP releases for your daily track on the blog, since it has always been my day-to-day pleasure to write up about a different piece of music every day! If you’re looking for some gift ideas for the hardcore music lover in your household at the moment, this week’s helping of new albums may give you some inspiration. There is the first entirely self-produced new album from the critically acclaimed Worship singer Sara Groves, which certainly seems worth picking up. The likes of Blur and Gorillaz frontman Damon Albarn, popular Hardcore Punk stars IDLES and the cult classic American Alt-Rock outfit They Might Be Giants join the ranks. I, meanwhile, have been looking forward to hearing the first solo album release from the multi-time ARIA Award winning and the Brit Award nominated Sydney-Born Alternative Rock singer-songwriter and producer Courtney Barnett in three years. I really enjoy listening to her dry, witty mannerisms and her gut-punch guitar riffs that she has become known and well-reviewed within the industry for, and I think she’s perfectly on-brand for this blog too. You may recall her recording the ‘Lotta Sea Lice’ collaborative album with Kurt Vile from The War On Drugs fame, and I love how that album has since introduced more Blues and Country influences into her music. She returns today with ‘Things Take Time, Take Time’ via Mon + Pop Records or Marathan Artists depending on where you live, which she recorded between late 2020 to early 2021 with producer/drummer Stella Mozgawa between Melbourne and Sydney as an attempt to delve into her own psyche to explore themes of love and renewal, as well as healing and discovery. It includes the previous singles ‘Write A List of Things To Look Forward To’ and ‘Rae Street’. So, let’s check her out ‘Before You Gotta Go’ below.

A recent press release hyped up Barnett’s new album like this, “Things Take Time, Take Time is yet another assured leap forward for Barnett; a breakthrough really, but not in the ways you might expect”, expanding, “This is Barnett at her most creative and adventurous – an exquisite look at Courtney’s private world, and consequently her most beautiful and intimate record to date”, and the third single to be taken from the record, ‘Before You Gotta Go’, is another refreshing take on her pre-established Indie sound as the vocal delivery and acoustic instrumentation veer more towards in the direction of Americana and Country records. Paired to a few surrealist images from director Claudia Sangiorgi Dalimore in which Barnett tries to capture field recordings in nature, there’s nothing massively bombastic in terms of style here and Barnett angles for something more minimalist than normal. Lyrics like “If something were to happen my dear/I wouldn’t want the last words you hear/To be unkind” get some plaintive emotions across, and she pulls herself into a reflective state as she recalls a fight with her partner and she resets her actual emotions towards them. The instrumentation is smooth, starting off with a tranlucent lead guitar riff that cycles around some beat-matched Drums and an airy feeling of longing. By the end of the track, we’re left with clarity as Barnett regains a perspective and appreciation for the other person, giving the pay off for the soft rock instrumentation and slowly building melodicism that has been built up throughout the song, giving you the chance to breathe in and absorb everything that she’s just unloaded on you in terms of her emotional baggage. It sounds a little 90’s at points, while trading in the harsh Grunge sounds of memorable singles like ‘Dead Fox’ and ‘Pedestrian At Best’ for something that strikes a similar emotional chord in feeling headstrong and personal, yet the delivery is more polished and the rhythms feel more introspective. Like the prior single of ‘Rae Street’, the softly crooned lyrics and the twangy bass guitar beats bear some resemblance to Kurt Vile, her former collaborative partner, and so you can hear the more gentle formula of their album, ‘Lotta Sea Lice’, coming through to her own solo work. ‘Before You Gotta Go’ uses that period of her career and gives her a few fresh ideas for her own solo material. Overall, ‘Before You Gotta Go’ is a lovely single that feels laidback and mellow. The sound is a little more Country-oriented and Folk-driven than her earlier work, and usually the likes of cheesy, twangy and irritating Country music isn’t my thing at all to be honest, but it also feels less sardonic, in a way, to her prior output. It’s nice to see one of our stronger songwriters of the present day switching things up by looking inward, thinking deeply, and blissfully unpacking.

Pictured: Courtney Barnett at Rock The Garden Festival (2019) (Photo via Martin Philbey/Redferns)

You can also check out my thoughts on the previous single – ‘Rae Street’ – here: https://onetrackatatime.home.blog/2021/08/21/todays-track-courtney-barnett-rae-street/

Pictured: Cover Art for ‘Lotta Sea Lice’ (LP) (with Kurt Vile) (Released in 2017) (via Matador Records)

That brings us to the bottom of the page for today. Whether you think it’s too early or not is up for debate, but, tomorrow, we’ll be kicking off our ‘Countdown To Christmas’ assortment of posts for the first time of this year’s holiday season. The first entry is a new single release from an American multi-instrumentalist perhaps best known for scoring a UK Top 20 hit, ‘Ex’s & Oh’s’, in 2017. The song was originally written by Blues legend and pianist Charles Brown in 1960, and it has been covered by the likes of Michael Buble, Willie Nelson, Bon Jovi, Eagles, Kelly Clarkson, Josh Gracin and others.

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Today’s Track: Lauren Jauregui – ‘Colors’

November 8, 2021 — Leave a comment

Pictured: Cover Art for ‘PRELUDE’ (EP) (Released on November 5th, 2021) (via Attunement Records)

Good Morning to you! You are reading the words of Jacob Braybrooke, and the time has come for me to put a fresh start to the new week for your 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! A Cuban-American woman who was raised in Miami, Florida – the long black hair of Lauren Jauregui may seem familiar to mainstream audiences because she was previously a member of Fifth Harmony, a pop girl group who finished third on a series of the US version of ‘The X Factor’ in 2012, and went on to become something like the American equivalent of Little Mix, having scored global hits like ‘Work From Home’, ‘Boss’, and ‘Worth It’ before they split up to pursue solo projects in 2018. With plenty of attention gained from the US Billboard 200 chart and their accolades including ten Teen Choice Awards and four MTV Music Video Awards, the group of girls which shot bandmates Camila Cabello and Normani to solo success were, quite simply, music for the masses. Although Fifth Harmony’s work was never appealing to me as an individual, to be brutally honest with you, I was very suprised when I read about what Lauren Jauregui was up to. She’s been writing her own solo material since 2018, and, despite releasing a few singles and collaborating with the likes of Halsey and Steve Aoki in the three year gap, she has chosen to go fully independent by parting ways with conglomerate Sony Records and beginning to release music via Attunement Records, her own label, and she says, “My music is about getting to the bottom of how I’m feeling… Now, I have the freedom to explore all of the different ways I can express myself. My art is a witness to my growth”, in her press release. She will also serve as executive producer on her upcoming debut album, but, for now, she has just released her debut introduction EP, ‘PRELUDE’, which was co-produced by Johnny Rain, and it came accompanied by a ticketed virtual performance that took place at Moment House on 14th and 15th October. Lauren is also an advocate for many social causes, like gun violence and human rights, and as an openly bisexual woman, has spoken about LGBTQ+ issues and she has wrote open letters to Donald Trump about these. Let’s see her true ‘Colors’ below.

Lauren says of her unique live set roll out, “I want the story to tell itself through the music. It’s very introspective. I go through a lot of different emotions and revealings throughout it”, as she hints towards mental health issues and anxiety that she has dealt with before as key themes for the project. As for ‘Colors’ (the second single to be taken from ‘PRELUDE’, released over the past Friday in association with the indie supporters AWAL Recordings), Jauregui explains, “The song is a literal conversation. When everyone is gone, it’s just you and I. You can paint on the wall, but you can’t erase them all. I’m letting myself know that no matter what is going on, I need to be okay with myself”, in her own press notes. Beginning with some sparse String arrangements and a floating Piano riff, Jauregui gets in touch with her reflective side by crooning lyrics like “My heart has a way of rejecting what’s good for it” and later argues with her own actions by questioning “Who taught me that, I wasn’t good enough?” and “Why haven’t I caught your bluff” to the tune of a fairly tense Violin melody and some minimalist Drum beats. The second half of the track kicks in next, with a driving Lo-Fi beat that feels punchy, following a spoken word section where Jauregui recites intimate lyrics like “I’m actually not addicted to the drugs/I’m addicted to feeling f***ing numb” and she ends on a note of hope as she inspires herself with “Ignoring spirit really never helped me amount to nothing so, Grow”, in her literal conversation with herself as the instrumental of R&B-tinged backing harmonies and airy Strings, along with the more aggressive Hip-Hop breakbeat dressing, which rolls along. I actually really enjoyed this one, and that came as a little bit of a suprise to me. Seeing a former member of a very mainstream girl group striking out on her own in the Pop world is a tale that feels as old as time, and, for that reason, I have a lot of admiration for Jauregui in doing what feels right for her and simply making the music that she wants. It’s not like this is incredibly alternative and it should be accessible enough to her fans that have stuck around with her since her group went on an indefinite hiatus, but I feel the simple fact that she’s staying true to herself and self-producing, as well as self-releasing, her work from now on, is a very brave move, and I think the creative freedom that it gives Lauren will really do fantastic things for her as an artist. It indicates to me that she wants to re-assure herself as a proper music artist and she isn’t just looking for a quick number one hit in the charts. Her contemporaries, namely the likes of Ariana Grande, often have a very high-pitched voice and that tends to come off as a bit over-powering for me to the point where it feels unnatural when put to some auto-tune effects, but Lauren’s vocals were generally good throughout this one. They were perhaps just a very tad bit shaky at times in the live video, but she paces her voice with the music well. I liked how there was tension in the instrumentation and the lyrics themselves are kept quite to the point, and this got some genuine emotion and a tease of her actual personality across to me as an onlooking listener. It felt contemplative and raw, and I liked how Lauren revealed her own identity check by underscoring her painfully honest delivery with the slightly ethereal backing harmonies and the ascending String melodies. Overall, seeing a headline of a former member of a very popular girl group making solo music is something that I’ve been known to ignore in the past. Therefore, I’m glad that I’ve come across Lauren as this was really a lovely surprise. She seems like an excellent person in general and I love how she has the courage to do things differently instead of conforming to any pre-set notion of what a prior member of a Pop girl band should be doing when the chapter of that book closes. I loved the intimate style of the song, and I also can’t wait to hear how her Cuban background plays into her future recordings, as this ‘PRELUDE’ EP seems more like a mission statement than a full-blown thing. Still, this was better than most of the other female mainstream-known singers that I’ve heard in these times, and I look forward to hearing what comes next from her. I’d say she is the best harmonizer of the bunch.

Pictured: Lauren Jauregui performing at an undisclosed gig (2019) (Photo by Reprodução/Instagram)

That brings us to the end of another musical musing! Thank you for supporting the blog and the independent creators that I like to support, in turn, and I’ll be back tomorrow for something a little more Classical, but still very contemporary. It comes from a Japanese composer who is now based in London and releasing projects like the ‘Uncertainty’ EP following a stint as the drummer of indie Alt-Pop group Teleman.

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