Modern Prog.

New Album Release Fridays: Soccer 96 (feat. Salami Rose Joe Louis) – ‘Yesterday Knows Me’

May 6, 2022 — Leave a comment
Pictured: Cover Artwork for ‘Inner Worlds’ (LP/Album) (Released on May 6th, 2022) (via Moshi Moshi Records)

Good Morning to you! My name is Jacob Braybrooke, and the time has finally arrived for us to enjoy some celestial analog Synths and lumbering Hi-Hat Drums with yet another daily track on the blog, since it’s always my day-to-day pleasure to write up about a different piece of music every day! Sharon Van Etten, Belle and Sebastian, Rolling Blackouts Coastal Fever, Sunflower Bean, Peaness and – as my mother just informed me earlier this morning – Emeli Sande are all taking advantage of the warm weather (and a gap in the release schedule before Kendrick Lamar unleashes his new cryptic juggernaut next week) with new albums this week. Another LP release worth keeping an eye on is the latest album by the London-based Prog-Jazz duo Soccer96, which is comprised of keyboardist Dan Leavers (Danalogue) and drummer Max Hallett (Betamax) who are also members of The Comet Is Coming. The two musicians like to keep busy in their separate careers as well. Leavers has performed alongside Scratcha DVA and Henry Lu, and he has produced albums for Ibibio Sound Machine, Snapped Ankles and Flamingods. Meanwhile, Hallett is also a member of Hot Head Show and Super Best Friends Club – and he’s also played the live drums with Sons Of Kemet, Yussef Kamal and Melt Yourself Down. They have become a regular addition to my digital library with their ethereal blend of Sci Fi-leaning Electronica, post-apocalyptic Ambient and poly-rhythmic Grime-Jazz. For their live sets, the diverse duo also pride themselves on using no laptops, sequencers or software when they perform, instead opting to play each of their parts in the moment. ‘Inner Worlds’ is the follow-up to last year’s ‘Dopamine’, an ambitious record based loosely on a narrative centered around a corrupt AI system that landed a spot on my very own ‘Top 25 Best Albums Of The Year’ 2021-end list that was published back in January on the blog. It releases today digitally, but it won’t be available to purchase on physical formats until May 27th via Moshi Moshi Records. The leading single – ‘Yesterday Knows Me’ – enlists the aid of Salami Rose Joe Louis, who previously provided the vocals for ‘Sitting On A Satellite’ that was taken off 2021’s ‘Dopamine’. Check out the music video for the single below.

Rozi Plain, Simbad, Tom Herbert and The Colours That Rise also appear on the new release, and Soccer96 pitch it for your pleasure by noting, “We’ve been reflecting on the relationship between our inner worlds and outer worlds, how our minds shape our experience and our experience shapes our mind“, in the LP’s product description on their Bandcamp profile, concluding, “How caring and nurturing our inner worlds can improve our relationship with our outer experiences. We see the creation of music as the bridge between these two worlds“, in their own words. Building off the unorthodox time signatures and Space-Pop synths of ‘Dopamine’, Soccer96 invite us all into the alluring and deliberately mechanical tone of ‘Inner Worlds’ with a typically whimsical arrangement of multi-layered vocals and gently Trip Hop-leaning instrumentals. Their beats feel ‘broken’ and ‘wonky’ to a characteristic degree, and they are tuned well to the sounds of the Soul-tinged vocals by Joe Louis that feel slow-burning and almost robotic in delivery. Instrumentally, it’s all about the texture for Soccer96 as always, as the duo continue to lay out their formula of intense textures and rather meticulous compositions that straddle the line between chaos and order like a well-balanced walk on a tight rope, while giving off the hazy and psychedelic vibes that distort the vocals and loop the drums in a sense of propulsion that slowly ascends and descends gradually. The crunching break-beat plays catch up to the more upbeat keyboard work for the most part, while the sequences bass ostinato provides subtle hints to 70’s Psych-Funk and 90’s New-Age recordings at differing points. Towards the end, there’s also a squelching solo where the electronics are really turned up to eleven and replace the wide-eyed mood of the verses with an extra angle being added between the melee of the drums and keyboard where the cut is more focused on brute sonic impact. Musically, the lead single feels very varied while the barely audible lyrics add another dimension to the light grooves. The cohesion is solid though, and there’s certainly the creativity here to warrant the genre-fluid variety of styles feeling suitable together. It’s not really a major departure in sound for the duo, but it shows the experimental and independent duo doing what they do best and embracing their creative freedom to deliver a fascinating and imaginative tapestry of textures, moods and functions. This is bound to be another Soccer96 record that you should not miss.

Pictured: Dan Leavers (Keyboard/Synths) and Max Hallett (Drums/Percussion) (2021) (Photo Credit: William Barnes)

Looking for more where that came from? Check out my previous Soccer96 post here:

‘Sitting On A Satellite’ (feat. Salami Rose Joe Louis) (2021) – https://onetrackatatime.home.blog/2021/09/24/new-album-release-fridays-soccer96-feat-salami-rose-joe-louis-sitting-on-a-satellite/

Pictured: Cover Artwork for ‘Dopamine’ (Released on September 24th, 2021) (via Moshi Moshi Records)

That brings us to the bottom of the page once again, and I thank you very much for your support today and over the years. Remarkably, I have just reached the milestone of 1,000 posts being published on the site, as of yesterday. There will be no new daily post tomorrow in the traditional sense, but please stay tuned to the homepage and the social media profiles for an important announcement arriving in the coming days.

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Today’s Track: Automatic – ‘New Beginning’

April 28, 2022 — Leave a comment
Pictured: Izzy Glaudini (Vocals/Synths), Lola Dompé (Drums) and Halle Saxon (Bass Guitar) (2019) (Photo via PR)

Good Morning to you! This is Jacob Braybrooke, and the time is now to fill up your electric car as we take a trip of futuristic Motorik proportions to outer space as we get invested in yet another daily track on the blog, because it is always my day-to-day pleasure to write up about a different piece of music every day! I don’t think that a fortnight ever goes by where we don’t cover an artist signed by Stones Throw Records – known for artists like MNDSGN, Maylee Todd, Kiefer, Sudan Archives and John Carroll Kirby – but the truth is that the California-based soul specialist label has been churning out loads of great material lately, and I am about to add Automatic to the aforementioned list of their all-star acts. A Synth-Punk trio comprised of Izzy Glaudini (Vocals/Synths), Halle Saxon (Bass/Vocals) & Lola Dompe (Drums/Vocals), Automatic became a mainstay on the L.A. dance club circuit after forming in 2017. Their biggest influence is The Go-Go’s – an 80’s New Wave band who are the only all-female band to have written and played every instrument on a #1 album in the US as of 2017 – who have also provided the three-piece’s namesake. Glaudini and Saxon have played in other Los Angeles-based bands like Mega Bog and The Black Windmill, while Dompe is the daughter of Bauhaus’ Kevin Haskins who – as a teenager – played in Blackblack alongside her sister, Diva Dompe. Automatic will be releasing their second studio album ‘Excess’ on June 24th and they will be touring alongside Tame Impala, Parquet Courts and Osees throughout 2022. Check out the lead single ‘New Beginning’ below.

The music video for ‘New Beginning’ was pitched by director Ambar Navarro as an homage to the Swedish sci-f film ‘Aniara’ – and the band have continued to tease the album’s explorations of the edge of the 70’s club underground and the industrial side of the 80’s by writing that it aims to capture “That fleeting moment when what was once cool quickly turned and became mainstream, all for the sake of consumerism“, adding, “The record is about what happens to our psyches when we’re conditioned to certain values, the consequences of those values and a desire to resist them“, in a press statement. Starting off with more of a Dream Pop-like sound set to the tune of fairly deadpan vocals that recalls many retro female vocal groups like The Ronettes, as Glaudini contemplates the idea of leaving behind a dilapidated Earth in solace of false hope created by the ultra-wealthy who are eyeing manned space travel with piercing lyrics like “In the service of desire/We will travel far away” and “Heard the final echo/It’s almost time to go” as the beats behind her gain traction with a stomping bassline and thudding drums. Once these melodies up the ante a little bit, later lyrics like “Falling through the distance/The stars will light the way” and “Endless service of desire/Every night and every day” are recited more energetically, as Glaudini weighs up some pro’s and con’s of attempting to escape the planet when it gets scorched – with a fair quality of inevitability in her rather unphased voice – as unchecked consumerism continues to reach its logical outcome. While a bit bleak, the lyrics are given more flair by the instrumentation which is undoubtedly more optimistic and colourful. The early insistent Bass groove and her intentionally ‘flat’ vocals slowly morph into heavy Synth stabs and lockstep Motorik drums that give ‘New Beginning’ its distinctly Industrial character, topped off by handclaps in tandem with the percussive combo of an atmospheric Keyboard section and fuzzed-out Snare effects. ‘New Beginning’ ultimately adds a splash of colour and imagination to an otherwise bleak topic, plus it replicates the Disco vibe and the 80’s influences with a modern twist due to the more current social commentary of their lyricism. Overall, this is another eclectic, exciting song being supported by a label who are killing it right now.

Pictured: Cover Artwork for ‘Excess’ (LP/Album) (Available from June 24th, 2022) (via Stones Throw Records)

That’s all for now! Thank you for checking out my latest post on the blog, and I will be back tomorrow for ‘New Album Release Fridays’ as we preview the new album by an established urban Indie Rock band from London who were formed through an NME advert in the early 00’s. They won NME’s Album Of The Year award in 2007 for ‘Silent Alarm’ and, in addition, they have roughly sold over three million records worldwide.

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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: Totally Enormous Extinct Dinosaurs – ‘Blood In The Snow’

April 5, 2022 — Leave a comment
Pictured: Vinyl copy of ‘When The Lights Go’ (LP) (Available from July 22nd, 2022) (via Nice Age Records)

Good Morning to you! This is Jacob Braybrooke, and the time has come for you to get invested in yet another daily track on the blog, despite any incredulous looks on my face, because it’s always my day-to-day pleasure to write up about a different piece of music every day! 2012 (Although I discovered this soon-to-be specified record a year or two later). Picture the scene. I was a young sprog, sitting on the college bus every morning, beginning to experience alternative music outside of the mainstream for the first couple of times with a hair full of dandruff, finding my place in the world. I was being simply swept away by the vibrant Drum ‘N’ Bass and ethereal Jungle sounds of Orlando Tobias Higginbottom (aka Oxford-born House producer Totally Enormous Extinct Dinosaurs) who injected colour in to the club environments of the 2010’s with his melancholic textures and a sense of longing in his voice, one in few of which I truly connected with at the time, with TEED’s critically acclaimed debut album release of ‘Trouble’. An entire decade later, ‘When The Lights Go’, the follow-up to that “Jacob Classic” of an album, is finally set to arrive on July 22nd. Higginbottom is a classically trained musician who is the son of a former choir conductor from New College, Oxford and he found his own footing through his studies at the Junior Royal Academy Of Music in London, before he became obsessed with electronic music through tapes lent by his siblings. He has since become one of my favourite musicians, and one of Britain’s most underrated exports in my honest opinion, although he is currently based in Los Angeles. To say that this dinosaur has been totally er, extinct between the ten year gap would be totally untrue, however. He has released several EP’s like 2013’s ‘Get Lost VI’, 2020’s ‘I Can Hear The Birds’ and 2021’s ‘The Distance’ to typically amazing results. ‘Heartbreak’, a collaboration with Bonobo, was also nominated for the ‘Best Electronic/Dance Recording’ nod at this year’s Grammy Awards. He has also collaborated with the likes of Anna Lunoe, SG Lewis, Kelsey Lu, Shura, Dillon Francis, Porter Robinson and Amtrac over the years too, as well as touring regularly. There is a great deal of excitement towards the new album, as it represents his most substantial body of material in ten years. Check out the lead single – ‘Blood In The Snow’ – below.

‘When The Lights Go’ will feature seventeen tracks, which were all largely recorded at Higginbottom’s own home in Los Angeles, California. He will also resume touring the US and Europe throughout the spring, including a Brooklyn show at Elsewhere Hall on April 29th alongside Kate Garvey and Heathered Pearls, with solo shows in Miami, Austin, Chicago and more to follow. Talking about the arctic theme of ‘Blood In The Snow’, he says, “The song is about melting glaciers and about wanting a daughter, and where to put love in this tailspin”, in his press assertion. Hitting the ground running with a haunting Double Bass intro accentuated by glistening Keyboard riffs and hazy Synth pads, Higginbottom warmly sings lyrics like “How much longer?, Before the damn begins to break” and “Precious winter, enough will all the growth” that feel downbeat and contemplative, while ominous and slightly reclusive in tone, as he questions his ambitions towards some parenthood and compares the emotions to the cyclical processes of nature. The chorus is gentle but striking, with the colder textures combining to the somber tune of lyrics like “Names for a daughter/Blood in the snow” and “But I want her, More than you know” that feel insular and precise, although the beat-driven pacing is laid out fairly sparsely. The instrumentation blends these arena-level electronics with his human, poignant vocals, where the distorted Synths create some interplay with the melancholic qualities of his vulnerable vocals by building gradually towards a halting crescendo, where his layers of textures simply crunch together. The verses are given space by the progressive Jazz-influenced Drums and the warping Synths that build to a slight alter in pace and mood in the late stages of the track where the different Snare sound comes in and, like his vocals, these changes feel subtle but delicate and merticulously crafted. This feels very different to the more club-driven sound of 2012’s ‘Trouble’ because the assortment of sounds deliver a low-key groove instead of an anthemic ‘danceability’ to them, but the delicate vocals of Higginbottom and the progressive, yet certainly grounded, take on Indietronica is still in there. It is admittedly a slow burn, but it makes for an emotional experience when you hear the different elements come together by the end and it has a similar tone of quintessentially British sadness and almost deliberately ‘flat’ vocals that only Higginbottom could really get away with, while the lyrics promise more maturity and growth from him as a songwriter, and it feels like rarity for him to use his own voice as the producer in this day and age too. ‘Blood In The Snow’ really stands out if you hear it on the radio, and it feels different to the spectrum of genres that he is often associated with, while sounding unmistakably like him in its bold production. Instead of totally extinct, this feels totally brilliant – and I’m stoked to hear the album.

Pictured: Orlando Tobias Higginbottom (aka Totally Enormous Extinct Dinosaurs) (2019) (Photo via EDM.com)

Here’s my TEED-related posts to get you warmed up for this highly anticipated album.

‘Los Angeles’ (2020) – https://onetrackatatime.home.blog/2020/08/05/todays-track-totally-enormous-extinct-dinosaurs-los-angeles/

‘Heartbreak’ (with Bonobo) (2020) – https://onetrackatatime.home.blog/2020/10/06/todays-track-bonobo-totally-enormous-extinct-dinosaurs-heartbreak/

‘The Distance’ (2021) – https://onetrackatatime.home.blog/2021/10/16/todays-track-totally-enormous-extinct-dinosaurs-the-distance/

Pictured: Cover Artwork for ‘The Distance’ (EP) (Released on October 27th, 2021) (via Nice Age Records)

That brings us to the end of yet another daily track on the blog, and thank you for continuing to support the site, as your time and attention is always appreciated very highly. It feels quite unbelievable that we’ve almost come up to another ‘Way Back Wednesdays’ post so swiftly, but that feature continues tomorrow with a post regarding a North Carolina-born Funk, R&B and Soul singer-songwriter who sadly left us in February. She was known for her controversially sexual-oriented performance style and songwriting. She was also the second wife of beloved trumpeter Miles Davis.

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Today’s Track: Röyksopp (feat. Alison Goldfrapp) – ‘Impossible’

March 22, 2022 — Leave a comment
Pictured: Röyksopp (Svein Berge & Torbjørn Brundtland) (DJ’s/Producers) (2022) (Photo via SynthpopFanatic.com)

Good Morning to you! This is Jacob Braybrooke, and it’s time for us to raise our spirits above from the depths of despair 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! Weaving between Progressive Synthpop, Acid Techno and Dark Ambient across the last two decades, the Norwegian electronic dance duo of Svein Berge and Torbjørn Brundtland have decided to tear up the rule book in retiring the traditional album release format with their upcoming sixth LP release – ‘Profound Mysteries’ – that hits store shelves on April 29th via Dog Triumph Records. To date, the duo – who were formed in Tromsø in 1998 – have been nominated for two Grammy Awards, won seven Spellemannprisen Awards, performed globally on tours, had four consecutive #1 albums in Norway, and collaborated with huge names like Robyn. Therefore, it’s somewhat strange that, aside from a vague familiarity with their name, they have largely slipped my radar in their time. However, I heard ‘Impossible’ on The Current’s Song Of The Day podcast and its deep, dark grooves were enough for me to keep listening on rather than just hitting the skip button like I sometimes do. ‘Impossible’ features the vocal abilities of Alison Goldfrapp, the lead singer of 00’s commercial euro-disco heavyweights Goldfrapp, and Röyksopp are pitching their imminent full-length new release as “an expanded creative universe and a prodigious conceptual project” in their press release. One of these projects is ‘The Conversation’, a recent short film uploaded to their YouTube channel last month that was directed by Danish filmmaker Martin De Thurah. To give you some more context about what they actually mean, the duo say, “As human beings, what we don’t know vastly overshadows what we do know. As teenagers, we would discuss our own fascination with the infinite and the impossible. The most profound mysteries of life”. Check out the lead single below.

It has been a long time since we’ve heard from the duo since their last LP release – 2014’s ‘The Inevitable End’ – launched almost eight years ago. Commenting on the collaboration for ‘Impossible’, guest vocalist Alison Goldfrapp says, “It’s been great working with the wonderful Svein and Torbjørn from Røyksopp. I’ve been a fan of their music for years and it was a fascinating joy creating ‘Impossible’ together. I truly hope everyone enjoys the track as there’s more to come”, in her press notes. Mimicking the visual of a glittery disco ball slowly fading to a liquid ink black in terms of sound, ‘Impossible’ starts off with a smooth set of Synths that recall a clear Disco influence before slowly growing into a barrage of assaulting textures as the bassline becomes more crunchy in style and the percussive Drum melodies contribute to the shimmering delivery. Goldfrapp’s lyrics feel hypnotic and alluring, with vague and enigmatic, in terms of mood, lyrics like “You’re the world ablaze/You’re the space between/Impossible/The perfect dream” and “I can touch the sky/Hear your lion heart/Feel the inside” that reveal little in the way of clear-cut details, but they carry a sensual yet not overtly sexual tone that floats above the more relentless pace of the instrumental parts to give the thumping concoction of downtempo electronica and progressive disco music an ethereal, polished feel. It builds to a neat closing stretch where the same lyrics are repeated amongst a more silk-like texture of electronic beats, where it feels like high-stakes tension has been relieved in favour of more operatic thrills. It sounds far from overly commercial, but it sounds melodic enough to feel like a natural selection for a single rather than purely an album track, and the vocals from Goldfrapp’s vocalist seem musically upbeat in the vein of their more well-known cuts in the mainstream while retaining an experimental, high-pitched finish. The production feels delicate overall, where a diversity of textures and genre ideas have been put together in a meticulous way that makes them feel coherent together when the sum of each part is added in unison. The spaced-out synths grow a little bit tiresome by the track’s end for me, but the pacing feels sublime and the chemistry between the two acts is excellent too, making the disillusioned grooves feel addictive while rewarding and challenging to keep listening to. Overall, although I feel that ‘Impossible’ is more of a “good track” than a “truly special” one due to it’s tendency to grow just a tad tedious by the end, it features an intriguing array of sounds that indicate subtle hints of different dance-related genres that are whipped together in a blender to conjure up a pretty well-textured smoothie. One for a long night ride home.

Pictured: Cover Artwork for ‘Profound Mysteries’ (LP) (Available from April 29th, 2022) (via Dog Triumph Records)

That brings us to the end of a fairly cryptic new post on the blog today, and I’ll be taking a break from my recent recommendations tomorrow as we go retro for ‘Way Back Wednesdays’. Thank you for supporting me today, and please feel free to join me again then for a look back at an early 00’s UK Hip-Hop classic by a British rapper and producer who has produced numerous singles and albums for the Big Dada label since 1994. His track in question was memorable for it’s intentionally similar melody to the ‘Doctor Who’ TV theme track and it reached the top spot of the UK Dance chart.

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Today’s Track: Maylee Todd – ‘Show Me’

March 10, 2022 — Leave a comment
Pictured: Toronto’s Maylee Todd in a recent photoshoot to promote ‘Maloo’ (2022) (Photo via TheStar.com)

Good Morning to you! This is Jacob Braybrooke, and the time has arrived for me to guide you through yet another exciting daily track on the blog from a very brave and ambitious singer-songwriter, given how it’s always my day-to-day pleasure to write up about a different piece of music every day! ‘Brave’ and ‘Ambitious’ are just two words that describe the Toronto-based Art Pop musician Maylee Todd, who is new to this young writer’s eardrums, who has experimented with instruments as obscure as the Paraguayan Harp and the Tenori-on in her career since she began recording material in the 00’s. Todd has played across numerous festivals including the Crossover Jazz Fest and the Billboard Live Stage, she has performed alongside the likes of Janelle Monae, The Budos Band, Aloe Blacc and Thundercat on stage throughout the years, and she contributed her vocals to Bob Wiseman’s collaborative LP release ‘Giuletta Masina At The Oscars Crying’ in 2012. Todd was also the creator of Virtual Womb, a practical art exhibition where the audience walks through an enlarged CGI image of a Vagina and lies on the floor, awaiting the vibrant projections that float across on the ceiling, in 2017. Maylee Todd’s music seems just as visual and provoking, as a wide assortment of Indie Pop, Prog Jazz, Psych Funk, Bossa Nova and more have been incorporated into the sounds of her musical projects. Her latest full-length album – ‘Maloo’ – was released on March 4th via Stones Throw Records – an eclectic Funk, Jazz and Soul specialist label based in Los Angeles, California that has introduced several amazing artists like MNDSGN, John Carroll Kirby and Kiefer to my streaming libraries throughout the last few years of my work. Let’s give ‘Show Me’ a listen below.

To produce her latest artsy-craftsy LP project, Maylee Todd spent a lot of time researching VR throughout the pandemic, which led to some ideas on utopian, futuristic technology. The result is ‘Maloo’, a fictional character that she has designed in virtual reality that she created while working on the story and setting of a prototype VR video game, as she learned the skills of 3D modelling and body tracking to bring her vision to life. Dubbed as ‘The Age Of Energy’, a virtual space where the character is based, the concept album and the ‘Maloo’ avatar are influenced by intimate, personal origins. As Todd writes, “We participate in the digital landscape and our digital life has real-life implications”, in her press statement. Musically, she wrote and recorded ‘Show Me’ as the introductory single with the Yamaha Tenori-on – a discontinued electronic sequencer that was built by Toshio Iwai, a Japanese interactive media and installation artist. Her single begins with some glitched keyboard chords that convey visuals of futuristic cyberspace and post-modern technology immediately. The bass grooves grow deeper as her downtempo vocals become more hypnotic, and she allures you in to ‘Show Me’ with a noticeably Soulful skew that wouldn’t sound out of place on a Sly & The Family Stone or a Toro Y Moi record in it’s nostalgic, but free-form, nature. Lyrics like “Watch the birds, take their form/Icy hands, blood is warm” complement the peaceful and tranquil vibes, while the minimalist chorus of “Show me, your heart” is deep and intimate in it’s Lo-Fi textures. ‘Maloo’ may be conceptually driven and visually influenced at large, but the single is accessible enough to a fairly mainstream because it feels simple yet not simplistic. I also really admire the work that Todd has put into ‘giving the project her all’ by focusing on how the audio-visual aspects of the piece were written in tandem with her vocals. It reminds me of Bjork and St. Vincent, who are undoubtedly driven artists that have similar characteristics of boldness and communicating an idea through all aspects of the media at their disposal. In conclusion, it seems clear that Maylee Todd has a lot more to ‘Show Me’ – and I look forwards to seeing the rest of it.

Pictured: Vinyl Copy of ‘Maloo’ (LP/Album) (Released on March 4th, 2022) (via Stones Throw Records)

(That brings us to the end of the page for another day! Thank you very much for reading what I had to say about Maylee Todd for a few moments today, and I’ll be back tomorrow to guide you through a sneek peek at one of the weekend’s notable and new album releases. This week’s post involves the debut LP release from an emerging Alternative Rock 4-piece Post-Rock band who have been supported by the daytime playlist of BBC Radio 6 Music and they have been praised by NME. If you’re a fan of hard rock outfits such as Coach Party and Kid Kapichi – you’re going to enjoy it!

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Today’s Track: The Mushroom Herders – ‘Gainesville Square’

January 20, 2022 — Leave a comment
Pictured: Cover Artwork for ‘HERE!’ (LP) (Released on December 18th, 2021) (via 2189610 Records DK)

Good Morning to you! This is Jacob Braybrooke, as per usual, and it’s time for us to invest just a little bit of time into 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! A self-described “North Georgia Cat” as per his Bandcamp profile, The Mushroom Herders is the underground indie rock project of singer-songwriter Christopher James Estrada, who has spent time in a few places like Colorado and Atlanta, but has always returned to his “original stomping grounds” of the Northern Georgia area. Introduced to the likes of Cypress Hill, The Offspring and AFI by his close brother at twelve years old, Estrada became enamored with the acoustic guitar and fell in love with genres like the 60’s Psych scene, the 70’s Punk scene and the late-80’s Alternative scene in his young adulthood. He likes to describe his music as “music for the common people” and says he thinks “It’s always been about inspiring others to feel the motivation to create their own world” when reflecting on his own work in recent times. He released his latest LP – ‘HERE’ – on 19th December, 2021 via 2189610 Records DK, a collection of recordings that he’s been producing and writing since 2016. After a few years, he re-discovered the rough recordings on a burned disc in his car and retrieved the files via his PC’s hard drive and, after feeling nostalgic about the length of time the unreleased material has been kicking about, he has decided to publish it for the world. I loved ‘Gainesville Square’ when I first heard it, which gets the music video treatment below.

“Gainesvile Square means a lot to me. There are stomping grounds for me. It’s wild. I first started performing it on the square out of convenience. It didn’t seem to bother anyone that I would play my loud, silly music here”, Estrada says about his productive live experience in the video’s description, adding, “Eventually, I started bringing out actual amplifiers and playing louder music, and even that didn’t seem to bother people, surprisingly. This allowed me to flourish creatively. It gave me an open space to try out weird, strange sounds in the public eye. It allowed me to really discover what I wanted to play and perform for people”, as he comments on the connection between the outdoor environment and musical influences of the track. Kicking off with a modulated vocal sample that progressively gets warped and just surrounds the listener with an atmospheric gloom reflective of the informality of the track’s title location, we soon get a driving drum loop that kicks into gear and raises the tempo with percussive handclaps. The vocals are screwed and chopped, providing a hazy and psychedelic 90’s backdrop for the delayed pedal effects to create a buoyant melody from. The lyrics are difficult to hear in the mix, but the soundscape is detailed with helicopter sound effects and drowsy backing beats that feel a little trippy, continuously adding more intensity to the layered melodies that each reflect the sprawling, open and public setting of the track’s title. A strange groove of playful keyboard riffs and hazy guitar loops is created as the buoyant Synth riffs and the glistening Keys merge together to provide an overall psychedelic shine of production that makes the leading hook of the chorus of “Just sitting around on Gainesville Square” feel very triumphant and not mundane as it may appear on paper, but it feels relaxed and calm because the tone of the rhythms are positive and high-spirited in the mood they evoke. The lyrics are simplistic yet very bright, with sequences like “There’s leaves on the ground, and leaves all around” that describe the scene in a catchy flow, while other lyrics feel more wide-eyed and observational in delivery, as “There’s cars and there’s people too, and there’s me and you” that address you in the second person tense and make you feel more believably absorbed into the scene. Overall, it becomes not only a track about finding cheer and joy in your current surroundings, but a light commentary on the philosophy between making music and where you perform it. By the sounds of it, it is also a location that I really want to visit.

Pictured: Cover Art for ‘Midnight Outings & Blacklight Showers’ (LP) (Released on August 16, 2011) (Self-Released)

That’s all for now! Thank you for checking out my latest post and giving ‘Gainesville Square’ a few minutes of your time, and I’ll be back tomorrow to celebrate one of the weekend’s most exciting album releases for ‘New Album Release Fridays’ as we mark the debut album release of a Leeds-based indie punk 4-piece who have admittedly featured on the blog a few times before, but there’s a huge air of anticipation about their first LP. They have been supported regularly by BBC Radio 6 Music for the past eighteen months and they are included on BBC’s ‘Sound Of 2022’ poll. I also got the chance to see this band perform live at The Portland Arms (Cambridge) in September.

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Today’s Track: LYR (feat. Rozi Plain) – ‘Cascade Theory’

January 10, 2022 — Leave a comment
Pictured: Simon Armitage, Richard Walters and Patrick Pearson (2021) (Photo Credit: Callum Lovell Harrison)

Good Morning to you! This is Jacob Braybrooke, and I’m crossing my fingers for a peaceful start to a new week for you as we invest 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! ‘Cascade Theory’ is a brilliant new track from LYR, an experimental Post-Rock trio that is currently comprised of British poet laureate Simon Armitage, musician Richard Walters and multi-instrumentalist Patrick Pearson, with additional vocals by Winchester-based Alternative Pop singer-songwriter Rozi Plain. The trio’s name is an acronym for Land Yacht Regatta, and the three creatives say they found each other through the galvanizing philosophy of blending words. Last year, they released their debut album – ‘Call In The Crash Team’ – and they collaborated with Hollywood actress Florence Pugh and Melt Yourself Down’s Pete Wareham on their single ‘Lockdown’. A follow-up EP – ‘Cascade Theory’ – was released in late November via Mercury KX, a five-track release that elevates their typically Spoken Word blended with Ambient Rock style of music to more scientific proportions. LYR have said that “Cascade Theory takes a scientific principle and applies it to a social or psychological setting. Things crash into each other – especially thoughts and ideas – and the resulting fragmentation is both bewildering and exciting”, in their product description for the short-form release. The attached music video follows actor Richard Fox and it was directed by Jordan Martin, as well as produced by Double Vision, and it matches the single to some Noir-like visuals that finds the real world and an imaginary setting colliding at full speed, leaving behind a mess of stardust and glitter. Let’s check it out.

“The scientific phenomenon that is central to the EP is found in behavioral economics and explains decision making in sequential fashion, enlightening us on why observation follows imitation”, Mercury KX adds about the EP’s titular track in a press statement, explaining, “Simon Armitage’s ambient Spoken Word passages, at the forefront of the track, expand upon their personal interpretation of the network-based theory”, in the EP’s listing pages. This collision of objects, like the paint of the music video colliding with “space junk” as Armitage recites in the single, mirrors the vibrant explosion of poetry and Post-Punk of LYR’s sound on the track, as Armitage recalls that “one thing follows the other” in a key refrain of the lyrics. We start off with a minimal Piano beat that builds up to a soaring drum beat before a guitar riff is introduced to the melody, which becomes lightly distorted and feels suitable for the grim black-and-white colour palette of the music video. Meanwhile, Armitage uses a fairly laidback tone for his vocals that feels insistent as brief anecdotes like “Drop the tight bow in next door’s pond and call it a song/Broke a borrow side on a hiding rock, Mowing wet hay” and “It built a business park in a green field, While I fitted about and fine-tuned, the useless Haiku of a Rubik’s cube” that not only explain the cascade theory that is relevant to the track’s title, but apply the theory to everyday practices. A key refrain later on, where Simon Armitage recounts, “In the face of Jesus, I saw the orangutan” connect the theory to ongoing debates around religion and science. Not only are the lyrics intriguing, but the instrumentation feels cinematic and engrossing, as the chirping guitars and the reminiscent Drums create a stirring soundscape of unyielding chords. There are echoes of Sigur Ros in the Post-Rock textures, while the bass lines are more comparable to Future Islands in how the lyricism melds with the ascending melodies. There’s a hint of Jarvis Cocker to the male vocals, which come across with a near-equal mixture of light humour and academic intellect. A solid interplay between the male vocals and the female vocals of Rozi Plain is present too, who uses warmer lyrics like “Ding, Ding, Ding/You’re bowling in a pan” and “We need everyone sitting, now everyone stand” to contrast the high-tempo aggression of the Prog-Rock elements with a softer tone of voice that controls the chaos, for lack of a better term. Overall, thanks to the excellent pacing and the good interplay between Armitage and Plain – that reminds me a little bit of how the tone was calming on Peter, Bjorn & John’s mid-00’s cult hit ‘Young Folks’ in a few ways – ‘Cascade Theory’ is a treat that combines anthemic Post-Rock with clever intellect to engaging results.

Pictured: Cover Art for ‘Cascade Theory’ (EP) (Released on November 12, 2021) (via Mercury KX)

That brings us to the end of today’s presentation on One Track At A Time, and I thank you for sticking to the blog with me. Please feel free to join me again tomorrow as I shine a spotlight on some more music that came out in the latter end of 2021 that deserves a listen. My next pick comes from a Liverpool-based solo artist who found fame on TikTok and then began touring with bands like The Orielles and Trudy & The Romance – before he released his debut album through Melodic Records last October.

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Today’s Track: The Spirit Of The Beehive – ‘I Suck The Devil’s C***k’

December 30, 2021 — Leave a comment
Pictured: Cover Artwork for ‘ENTERTAINMENT, DEATH’ (LP) (Released on April 9th, 2021) (via Saddle Creek Records)

Good Morning to you! This is Jacob Braybrooke, and you’re tuned into the final part of my underrated underground series leading up to New Year’s Day as I deliver yet another 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! ‘I Suck The Devil’s ****’ is a title as irreverent as they come, and one that I write about hesitantly due to the demonic implications of the name, however, this is the most suitable representation of ‘ENTERTAINMENT, DEATH’ – the latest album from the Pensylvania-based Prog Rock band The Spirit Of The Beehive – that we’re going to get. An insanely beautiful yet intensely difficult project to wrap your head around, the record reflects late-night paranoia music that is enigmatic and cryptic. It is also intimate without giving any significant details away, and that’s made it a favourite among the year-end lists of high-brow critics this year. Taking their name from a Spanish cinematic masterpiece released in 1973 with the same title, the band are signed up to Saddle Creek Records and boast Zack Schwartz among their lineup who honed his Vaporwave craft as a former member of Glocca Morra. A reclusive release that has gained universal acclaim this year – and one of my back-and-forth favourite listens of 2021 – ‘ENTERTAINMENT, DEATH’ is the band’s first album without the former drummer Pat Conaboy and rhythm guitarist Kyle Laganella who left the band in 2020. The second single – ‘I Suck The Devil’s ****’ – is a four-part song that essentially feels like four different singles sewn together through post-production trickery. The workout-in-hell themed music video was also helmed by a trio of different directors (Part 1 is by Ada Babar, Part 3 is by Documavision and Parts 2 and 4 by Noah Burke) that each unfold in four chapters along with the music recording. You will just have to see how it all fits together below.

In what initially feels like a labyrinth of a near 7-minute recording, the band notes, “It’s our take on ‘A day in the life’. A man, overworked and undervalued discovers a portal to another time and a place where he hears a familiar song on the radio. In the context of the record, this track specifically encapsulates the dread of required performance, ultimately leading to a freeing death”, in a joint press statement. As the band channel a multitude of influences including Post-Hardcore and Vaporwave among many others, the band deliver a lengthy ego death sentence that blurs the lines between homespun Lo-Fi Rock to mangled Dream-Pop to aggressive Post-Rock to dis-associative Ambient Pop – all while wrapped in a noise collage Shoegaze thread – to create a very psychedelic journey that takes listeners from upside-down textures to inside-out downbeat sounds. Through these ever-winding spirals of self-reflection, the group pull us from one realm of bizzare fantasy to another, while creating enough compelling rhythms and bold, if fairly obscured, textures that make up the highly experimental piece of twisted Psych-Rock and melodic bursts of Post-Rock that echo glimmering fragments of Tame Impala and Black Country, New Road among other diverse comparison points. There aren’t any particularly memorable lyrics, but there are multiple planes of eclectic instrumentation that underscore the more emotive qualities of lyrics like “Scared of needles, but not of everything” and “Another middle class dumb American, falling asleep” to a notably playful effect, and so the complete package is more enticing, lyrically, than the wonky title of the track may lead you to believe. The music, however, sounds just as mischievous – mixing up some ethereal guitar rock with peculiar tangents that keep you guessing what may come next as the trio continue to create unpredictable shifts in tone. At each point in this release, I would forgive you for thinking you were listening to a different track with each few beats skipped, but it is a testament to the band’s abilities to create something so captivating through playing with cohesion, as the track cycles through its chaotic vignettes to build to an acknowledgment of an insignificant fate of the lead character, if you will. If you have been on the fence about Spirit Of The Beehive at any point, this kind of rare recording will certainly help any listeners to decide to be on the right one.

Pictured: Zack Schwartz (Co-Lead Vocals/Lead Guitar/Samples), Rivka Ravede (Co-Lead Vocals/Bass Guitar/Percussion), Corey Wichlin (Keyboard/Rhythm Guitar/Backing Vocals), Kyle Laganella (Bass Guitar) and Pat Conaboy (Drums/Electronic Drum Kit/Backing Vocals) (in 2018) (Photo Credit: Natalie Piserchi and Isabel Liang)

That brings us to the end of a very interesting post. It was nice to deviate from my typical formula a little with this segmented single, and I thank you for joining me by reading the results. Tomorrow, we’ll be looking back at a mid-00’s winter Folk classic in the spirit of the New Year’s Eve and Christmas season. The single comes from a well-known and critically acclaimed Seattle-formed Alternative Folk band who took a hiatus between 2013 and 2016 when the frontman pursued an undergraduate degree.

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Today’s Track: Hard Feelings – ‘Sister Infinity’

December 27, 2021 — Leave a comment
Pictured: Cover Art for ‘Hard Feelings’ (Self-Titled LP) (Released on November 5, 2021) (via Domino Recordings)

Good Morning to you! This is Jacob Braybrooke and, it’s just about time to go back to normal after Bank Holiday Monday after 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! For my new year’s week coverage this year, we’re going to be looking at some of the off-the-radar music that you may have missed in a year that was otherwise full of new Adele, ABBA, Ed Sheeran, Sam Fender, The Lathums and Billie Eilish album releases that were all very successful. My year-end list counting down my top 25 favourite albums of the year (Split into a few different parts to keep it more short and sweet than last year) will also be coming up your way as soon as possible. The first of my underappreciated suspects is the new collaborative duo of Joe Goddard and New York-based crooner Amy Douglas, who record music together under the project of HARD Feelings. You may know Goddard as a veteran of Hot Chip fame and as one of the busiest guys in the business, having produced new singles for Ibibio Sound Machine and collaborated with Hayden Thorpe in recent months, and he used to be one half of The 2 Bears alongside Raf Rundell. Meanwhile, Amy Douglas is a prominent name in the New York Post-Disco scene having worked with artists like Treasure Fingers, Horse Meat Disco, Luke Solomon and Juan MacLean. Douglas also wrote the single ‘Something More’ for Roisin Murphy’s latest album – ‘Roisin Machine’ – that was released last autumn. Together, Hard Feelings supported Goddard’s bandmates for their first live show on November 9th. They also released their first full-length album – which was self-titled – on November 7th via Domino Recordings. Described by Goddard and Douglas as “an opera of sad bangers”, the pair say the LP is loosely conceptual and, song by song, it focuses on the unraveling of relationships and their nuanced mystery. On the album’s second single and closing track – ‘Sister Infinity’ – the funky dance duo bring up a Sci-Fi twist to Synth Pop. Let’s give it a spin.

The music video for ‘Sister Infinity’, which features the narrative of Joe Goddard communicating with a quirky AI programme to help him conceive the song itself in a dystopian future, was directed by Tim Wagner and inspired by ‘Weird Science’, and the duo say that it “matches the song itself, a Discotastic pulse racing, HI NRG rollercoaster and HARD FEELINGS at our most futuristic and perhaps insidious version of the mad scientist and his creation scenario” in their press release. Flavours in the mix of ‘Sister Infinity’ include the likes of Kraftwerk, Stereolab, CeCe Peniston, Candi Staton and Kylie Minogue to my ears, and their own cited influences of Chaka Khan and Loose Ends feel particularly present on the retro ballad ‘Sister Infinity’, which brings some propulsive Disco tones and a slightly dark variation of moods to the dancefloor. Douglas murkily sings lyrics like “Write my name up in the sky, Seeing that with my third eye, I know you’re always here with me” and “Break my heart either way/I will bend time, where I want it to go” as she contemplates her own ability to be loved and how that stretches her comfort zone beyond a confident point. Meanwhile, the 70’s-leaning Disco synths provide a nostalgic electro-disco beat that bobs between a heartfelt and a heartbroken emotion, while the powerhouse Pipes and the twinkling Drum Machine loops provide some rhythmic, evocative undertones and some latex-polished production for Douglas’ performance to cohere with. It is a little low budget, but it still manages to feel cinematic and broad with it’s sweeping, euphoric Synth melodies. The sound is a little dated, but it certainly has a slick niche and the early New York Synth-Punk sound that Hard Feelings tap into are relatively unexplored in the modern ages, and so it manages to feel refreshing enough while nodding towards ABBA, Diana Ross and Depeche Mode throughout. The production is also very polished, with seamless segues between the different elements at play, giving ‘Sister Infinity’ an immersive and connected feel with its fusion of many Synth-related sub-genre qualities. Overall, I enjoyed how mature that ‘Sister Infinity’ feels overall, and it’s great that Hard Feelings are gaining some popularity from stations like KEXP and BBC Radio 6 Music as we await new releases in the new year because they feel diverse enough to stand out and they have their USP, for a lack of a better term. A distinctive pair who want to create an experience – as opposed to just music.

Pictured: Amy Douglas (Lead Vocals/Guitar/Keyboard) & Joe Goddard (Synths/Producer) (2021) (Photo via PR)

That’s all for now – so I’ll leave you to simply dance the bank holiday away – or just do whatever else that you choose to do as a past time. I’ll see you tomorrow for more musical action as we highlight another very distinctive Alternative Rock trio from Manchester who have supported Razorlight on tour. Earlier this year, they released a new concept album that was accompanied by a 45 minute animation movie that was created by the punk band’s frontwoman, Jess Allanic, using Blender and After Effects.

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