Today's Track: Ultraísta – “Tin King”

April 22, 2020 — Leave a comment

There is a ‘tin man’, but you won’t find The Wizard Of Oz here! It’s time for a new post!

Pictured: Cover Artwork for Ultraísta’s “Sister” (Released on March 13th, 2020) (via Partisan Records)

I couldn’t resist the pun despite the serious, artistic matter. Good afternoon to you, I’m Jacob Braybrooke and I’m writing to you about your daily track on the blog because it’s my day-to-day pleasure to do so! A discovery that I made a little while ago but I never got around to writing to you about is “Tin King”, a slightly disturbing electro-swing track released from the LP “Sister” by Ultraísta. Ultraísta are somewhat of an alternative house supergroup formed by Grammy-winning Radiohead producer Nigel Godrich, Laura Bettinson, lead vocalist of Femme and Lau.ra fame, along with Joey Waronker, an iconic touring drummer who has worked with the the likes of Beck and R.E.M.! The three musicians have joined together after performing a sporadic range of “jamming sessions” together in London and Los Angeles. They described their collaborative unit as: “an opportunity to do something outside of what we’d normally be doing” and their songwriting process as: “It’s like building a space shuttle out of matchsticks. It takes ages just to finish a wing, and you’re really proud of it, but then you go off and do something else for a while before you come back to tackle the next piece.” “Tin King” is the lead single taken from the “Sister” LP. Let’s hear it below.

The video looks very D-I-Y and independently made on a tight budget, but it feels like a stylistic, mockery-of-the-industry, decision that sounds art-based and well-informed when it’s matched up to the music. Bettinson ebbs in and out of Waronker’s flowing drum beat and a jarring, swirling house element. She sings: “Dialogue and industry/August in the thirties/David Bowie LP’s/I feel abominable, a bomb in a bubble”, a verse which is humorously led with an upbeat disco-pop tempo. Godrich adds a propulsive guitar melody which flows and interweaves through the consistent grooves. Bettinson also sings: “Thirteen hands/A right hand, and in the right hand”, a repetitous hook that gets vocally laid over a syncopated, lo-fi synth line. The drum loops display a more negative tone, as Bettinson sings: “It’s you, the sunshine”, a contrast to the light-hearted warmth of Bettinson’s dream-like vocals, always gliding above the percussive distortion loops and the bright drum machine loops. It has almost indecipherable lyrics on a first listen, but, over time, it becomes more clear and rewarding with a string of repeated listens. The production work is rather cerebral and sophisticated, but the energetic house textures and the melodic vocal chants are enough to craft a danceable beat, without it feeling too “pop”. Basically, this is a club track that’s made it onto the radio! You could dance to it in a club because it’s melodic and erotic, but the melodic strobes are non-violent and there’s a mature complexity to the experimentation beneath it. It’s solid, but I think you may have to take your time to allow the music to unfold each of it’s different layers to you!

Pictured: Laura Bettinson (Lead Vocals), Nigel Godrich (Producer/Guitar) and Joey Waronker (Drums) (2020) (via PR)

Thank you for reading this post! As per usual, I’ll be back tomorrow, with an in-depth look at a golden oldie from the Kingston, Jamaica sounds of the late 1960’s from a Jamaican Rocksteady duo who released a cover of “Don’t Look Back” by The Temptations and are still going strong to this day, having toured around the UK, Brazil and Hong Kong last year. If you really liked what you just read, why not follow the blog to get notified when every new daily post is up and why not like the Facebook page here?: https://www.facebook.com/OneTrackAtATime/

Today’s Track: The Knife – “Is It Medicine?”

March 18, 2020 — Leave a comment

Here’s a cult favorite act who’s popularity never got the chop! It’s time for a new post!

Pictured: Karin Dreijer (Lead Vocals/Keyboard) and Olof Dreijer (Splicing/Effects/Bass) (2006) (via NPR; press shoot)

“Cutting” their discography loose at just four solo albums over their career, The Knife are a Swedish Alternative Electronic pop duo who achieved huge breakthrough success with 2003’s “Deep Cuts”, spawning a big international following on their own independent label, Rabid Records. A certain aura of mystique is built around the careers of Karin Dreijer and Olof Dreijer, who certainly aren’t afraid to rush new music into production, along with their public appearances wearing Venetian masks at press events and their bold refusal to attend awards ceremonies. The Knife eventually disbanded after the release of “Shake The Habitual” in 2014, not counting a joint-production with Mt. Sims and Planningtorock. But their impact wasn’t beaten to the cut, neither like my awful Knife puns have been. One of the most curious tracks on 2003’s “Deep Cuts” is “Is It Medicine?”, which merges a rolling, synth-based electro-bassline with a power-led, 1970’s retro-pop sensibility. Let’s have a listen to it below!

“Is It Medicine?” is a powerful dancefloor filler about handling the difficulty of social anxiety and claustrophobia. This rough-edged tone is created by an aggressive electro-pop strobe line, which effervescently interweaves with a brazen vocal hook, as Dreijer croons: “I don’t know/I don’t know what to say/Is it medicine or a social skill?” over a layered fusion of futuristic guitar samples and progressive keyboard riffs, aided by a call-and-response part of backing vocals from Dreijer. The duo make jabs at the 9-5 office work culture: “Another day has come to an end/Then you start to cry again” and discuss feelings of internal quarantine: “being sad is a full time work”, as a mid-tempo acid techno beat jousts with a conflicting, loud vocal shriek from Dreijer near the end of the track. The female vocals will almost certainly be of an acquired taste and it may be difficult for new listeners to access on a first listen, but “Is It Medicine?” has managed to stand the test of time fairly well, with a timeless pop sound that feels dated and ahead of it’s time in equal measure. It provides call-backs to the new-wave influences of New Order and Eurythmics, while also having a contemporary euro-pop sound that feels closer to the likes of Robyn and Bjork. A track that’s tucked away a little bit, “Is It Medicine?” still has it’s imperfect pop appeal.

Pictured: Cover Artwork for “Deep Cuts” (Released on 17th January, 2003) (via Rabid Records)

Thank you for reading this post! I hope that you enjoyed reading it! I’ll be back tomorrow, as per usual, with an in-depth look at a single released back in 2018 by a Canadian indie dream-pop band who have self-released all of their music and once performed at the Montreal Jazz Festival, along with live performances at the heavy-hitting Coachella and Lollapalooza festivals! If you really liked what you just read, why not follow the blog to get notified when every new daily post is up and why not like the Facebook page here?: https://www.facebook.com/OneTrackAtATime/

Today’s Track: Róisín Murphy – “Murphy’s Law”

March 10, 2020 — Leave a comment

Just as it feels like Róisín Murphy’s at the top of her game, she decrees Murphy’s Law!

Pictured: Róisín Murphy perfoming a headline set at the BBC Radio 6Music Festival (2020) (Photo Credit: Sarah Jeynes)

Murphy’s Law has struck again! Good night, I’m Jacob Braybrooke – writing about your daily track on the blog, as it’s my day-to-day pleasure to do so! It certainly comes as a pleasure to report on a new Róisín Murphy track being released – a follow-up track to her 2019 club banger “Narcissus”, a club track which made it onto the radio! Murphy is best known for being one part of an Irish electronic dance duo with producer Mark Brydon called Moloko. They had mainstream chart hits around the world, with the likes of “Sing It Back” and “The Time Is Now”, being particularly successful commercially in the UK. She’s been authoritatively re-assuring her position as the new queen of disco with a recent comeback of-sorts, which led her to become one of the headline acts at this year’s BBC Radio 6Music Festival, which took place at The Roundhouse in Camden last weekend. Evolution was a recurring theme of her set, following frequent costume changes and altered versions of the key tracks in her discography, both from her time as one half of Moloko and as a solo artist. She also dedicated her live set to the late-great Andy Weatherhall, which was a very touching notion. With a song called “Murphy’s Law”, you already know it’s going to be a banger! There’s a 3-minute edit available on YouTube, but I’ve attached the full version below!

A twinkling keyboard riff sets us off, as Murphy provides the narrative framework for her vocal performance: “I feel my story’s still untold/But I’ll make my own happy ending” as a percussive layer of hand-clap effects take us through the refrain: “I think maybe I’ve outgrown this old town/I see you almost every day/And every time I turn around/Our love is stuck on replay”, a line which echoes the sentimental tone through a melodic, old-school pop rhythm. Murphy continues: “Ever since we broke up/I’ve been afraid to go out”, as Murphy matches a 70’s disco throwback style with more emphatic songwriting functions. An expertly polished synth line draws the chorus in: “It’s Murphy’s law/I’m gonna meet you tonight/Just one match could relight the flame”, a static bass guitar riff underlines the sonic direction, “And just when everything is going ‘alright/Murphy’s law is gonna strike again”, with the track gradually adding layers of wavering drum loops and interweaving guitar licks, as Murphy writes from the perspective of an ageing character visiting her old town to rekindle interest with an old flame: “All of my hard work keeps going down the drain”, while feeling unfulfilled and untapped. A mature dancefloor filler, Murphy anchors the end of the track with: “Keep on/Keep on/Keep on/Keep on…”, a sentiment which evokes the disco classics of “Saturday Night Fever” or Chic’s older work on classics like “Le Freak” in the late 1970’s. In comparison to Narcissus, Murphy’s Law detracts from the string-based arrangements and provides a larger variation of moods with it’s more gentle pacing. It manages to live up to the lofty expectations of the track’s title, with Murphy’s personality, as an artist, really managing to hold your attention throughout the long, 8-minute duration of the track. The lyricism is memorable and the style is nostalgic, albeit progressive. I think Murphy’s great – your Queen Of Disco!

Pictured: Róisín Murphy in a photoshoot for an interview with London In Stereo (2019) (Photo Credit: Nicola Nodland)

You can read my thoughts on “Narcissus” here: https://onetrackatatime.home.blog/2020/01/09/todays-track-roisin-murphy-narcissus/

Pictured: Róisín Murphy pictured with her co-producer and co-lyricist Mark Brydon in their Moloko days (date unknown) (Photo Credit: Alwaysontherun.net)

Thank you for reading this post! I’ll be back tomorrow, as always, with an in-depth look at a wrestling-themed track, released in 2012, by a British post punk band who were formed back in 2005, had a UK top 10 hit with “Heavyweight Champion Of The World” and were invited to support Oasis on their final tour – playing a blockbuster show at Wembley Stadium! If you really liked what you just read, why not follow the blog to get notified when each new post is up and like the Facebook page here?: https://www.facebook.com/OneTrackAtATime

Today’s Track: The ORB – “Daze”

February 29, 2020 — Leave a comment

A track for you to vibe out to under the little fluffy clouds? It’s time for your new post!

Pictured: Alex Paterson (Programming) and Michael Rendall (Effects) (Photo Credit: http://www.theorb.com)

It’s quite the sunny Stoke day for me – which gives us the perfect excuse to stream the latest track from one of Britian’s most established Chillout acts – The Orb, an ambient electronic house duo originally set up by Alex Paterson and The KLF’s Jimmy Caulty in 1988 – which is now comprised of Paterson and Michael Rendall. The Orb are best known for their 1991 classic “Little Fluffy Clouds”, which led to the duo becoming known for their following inside drug-induced clubs where their fans would “wind down” by listening to their neo-psychedelic remixes of Dub and Chill sequences. Their new LP record, “Abolition Of The Royal Familia” is currently slated for release on March 27th via the Cooking Vinyl label – with the title seeming like one of the obscure science fiction references which The Orb have become very synonymous for, in their long career since the late 1980’s. The new LP, their sixteenth studio album release overall, features guest appearances from the likes of Roger Eno, Nick Burton (former rotating member of The Orb), Andy Cain, Gaudi, Violetta Vicci and more – who will all be bringing their talents in a collaborative effort with the British humor and the witty sample-based elements of The Orb’s old-school psych-funk sensibilities. The most vital of which, however, is… Leika The Dog! Let’s watch her go on a cosmic canine trip to the moon and back in the music video for “Daze (Missing & Messed Up Mix)” below.

Fairly low production vales aside – the video for “Daze (Missing and Messed Up Mix)” elicits a few decent chuckles out of me, and I feel like the single is reasonably good as well. I particularly enjoyed the opening, as a sample-led blast of vocals, drowned in echoed reverberation, proudly exclaims: “A soul sound sensation”, before a swirling strobe of Balearic synths take control of the melodic hook, leading to a slightly down-tempo affair of genre-blurring composition, as a soulful refrain leads the vocal part: “You’ve been missing for days/missing..”, a simple line which is given a little more depth through an unashamedly 70’s disco element, as a vintage sample adds enough ooh’s and wooh’s to also craft a dance-able pop rhythm. The track also contains a light hop-hop element under a 90’s ambience glaze, which is created from a subtle strings arrangement and a modulated Conga drum sound. It mostly sounds like an eclectic and meticulously engineered affair of The Orb doing their classic dub-psychedelia twang best. It’s business as normal for The Orb, with an uptempo groove put together by a jam-packed sample part, which reminds me of the nostalgic adventure sound of The Avalanches “Since I Left You”. However, I don’t think it’s engineered in as much detail and in a peculiar sense, I don’t feel it really goes anywhere else, the soulful melodies are consistent but lacking in a vigorous quality to push it forwards slightly more than it’s been presented, as I feel the vocal refrain gets a little too repetitious for it’s own good. This is more the style of track that I would sit down and have on during a long train journey, rather than before a big night-out, as it does have an upbeat, traditional Chillout pop texture, but it doesn’t veer so much into free-spirited dance territory. Although I do think the track is missing another element of sound to give the overall sound a touch more excitement and just a little bit more oomph, I think the track does what it sets out to do very adequately. The slight infliction of wit is a twinkling highlight and it’s very engaging how the sound mixes elements of hip-hop, dub, ambient house, psychedelic soul and good, old-fashioned pop without losing much of it’s cohesive structure. A likeable little anthem.

Pictured: Alex Paterson and Michael Rendall enjoying a garden day… in the bushes! (Orb-approved press shot)

You can also read my thoughts on The Orb’s 90’s classic “Little Fluffy Clouds” here: https://onetrackatatime.home.blog/2020/02/18/todays-track-the-orb-little-fluffy-clouds/

Pictured: Cover Artwork for “Abolition Of The Royal Familia” (Available on 27th March, 2020) (via Cooking Vinyl)

Thank you or reading this post! I’m writing a new installment of my weekly Scuzz Sundays series on the blog tomorrow – a weekly thowback to the late 90’s and early-mid 00’s punk or emo rock anthems of old that you might remember seeing on the defunct Scuzz TV Freeview music video channel. It will be a mainstream chart hit from a band who, as a running joke in their music videos, use their previous singles during the introductions of their videos! If you really liked what you just read, why not follow the blog to get notified when each new post is up and like the Facebook page here?: https://www.facebook.com/OneTrackAtATime/https://www.facebook.com/OneTrackAtATime/

Today’s Track: Caribou – “Never Come Back”

February 28, 2020 — Leave a comment

Suddenly… Dan Snaith has a brand new Caribou LP out! It’s time for your Friday post!

Pictured: Cover Artwork for “Never Come Back” (2019)

It’s Friday, which means it’s the end of the week, but it also signals the release of a dozen new albums and singles, with Caribou’s “Suddenly” taking the spotlight on the blog this week! In case you’re unaware, Caribou is an electronic project set up by Canadian composer Dan Snaith, who also writes and records material as Daphni and Manitoba. It’s been a long time since we’ve heard from him, with 2014’s “Our Love” becoming a beloved LP record in the years since. “Suddenly”, released today on City Slang Records and Merge Records, is a photo album of a record where Snaith analyses the events in his life which surround him, such as his daughter being born in a Car on the way to the hospital. The album also deals with loss and memory, in the form of carefully textured soundscapes. I’ve recently been introduced to Snaith’s work with the release of “Home”, the lead single of the album, as Snaith has drummed up enough interest with me for me to own a physical copy for my record collection, which I’ve only just started. Let’s have a listen to the track “Never Come Back” below.

A sophisticated and enthralling track which veers into slightly commercial territory, but it confidently manages not to lose the vocally emotive trademark of Caribou’s sound, “Never Look Back” is a synthetic dance-pop delight that doesn’t miss a step in it’s stabbing EDM strobes and it’s uptempo pacing. With a sultry tone, Snaith repeats: “And you never come back to”, in sequenced timing with a consistent House trance, which is layered over the top of a 90’s-esque keyboard loop. The melodic stricture keeps stuttering, but Snaith adds the sound of a happy-go-lucky Cowbell and an unrelenting drum machine chord, which kicks into full-throttle mode near the end of the track. Before proceedings get too repetitious, Snaith refrains: “I can never forget it/Promise me you don’t regret it/You and I were together/even though we both knew better”, as the pop-filled rhythm begins to settle into a slower pace, before Snaith quickly pushes the makeshift-disco sound to the center of attention again. The track does sound a little poppier by his typical standards, but I feel that Snaith manages to cross over to a casual audience, who might be seeing him at festivals this summer, fairly wisely because he manages to effectively control the chaos by letting it sound familiar to his existing fans, while adding a crowd-pleasing, throwback dance sound to his existing repertoire. The single also translates the cohesive themes of the album, as the sultry vocal hook is kept consistent to contrast the breakneck changes of tempo and rhythm. It’s an ace track from an album which is set to deliver on it’s hype.

Pictured: Dan Snaith recording in his home studio

I’ve previously covered a few of Caribou’s other singles taken from the new record on the blog! Click here to read my thoughts on my discovery of “Home” (https://onetrackatatime.home.blog/2019/10/28/todays-track-caribou-home/) and click here to read my thoughts on “You and I” (https://onetrackatatime.home.blog/2019/12/09/todays-track-caribou-you-i/)

Pictured: Dan Snaith pictured in front of a mural to accompany the announcement of “Suddenly” (2020) (via PR)

Thank you for reading this post! It’s almost time for another weekly Scuzz Sundays post, but, before then – make sure that you check back with the blog tomorrow, where I’ll be writing an in-depth review, for you, on the new single from a legendary British electronic dance duo who are known for producing Dub and Chillout anthems which have been described by Alex Paterson as “ambient house for the E generation”! If you really liked what you just read, why not follow the blog to get notified when each new post is up and like the Facebook page here?: https://www.facebook.com/OneTrackAtATime

Today’s Track: Confidence Man – “Does It Make You Feel Good?”

February 26, 2020 — 1 Comment

Did it make me feel good? You’ll have to read my thoughts in today’s post to find out!

Pictured: Janet Planet (Vocals) and Sugar Bones (Vocals) in a photoshoot for “Does It Make You Feel Good? (2019) (Photo Credit: Zac Bayly)

Good evening – It’s Jacob Braybrooke here, writing about your daily track on the blog, as it’s my everyday duty and pleasure to do so! I’ve been very busy helping on the latest Staffs TV production, “Society Pub Quiz” at University today, so it’s another late-night post from me, which might be a blessing in disguise since I’m going to be introducing you to a chilled dance-pop anthem from the Australian EDM group Confidence Man, who were formed in Brisbane in 2016. The group made a huge name for themselves with their debut album, “Confident Music For Confident People”, which they released to critical acclaim and commercial success in April 2018, with the LP record earning the group the award for the “Best Independent Dance/Electronica Album” at the AIR Independent Music Awards last year. It was a very goofy, comical dance record which is very fun and entertaining to listen to! They’ve since returned with a one-off single, “Does It Make You Feel Good?”, which they released back in November 2019. The group are now signed to the Heavenly Recordings record label. Let’s have a little listen to “Does It Make You Feel Good?” with the music video below.

Did that make you feel good? The track is a slight departure from the sound of their full-length album, with a lighter emphasis on underlying darkness and humorous songwriting, with the group opting for a more feel-good and internationally appealing focus, with a light-hearted, old-school disco tone. The funnily named Janet Planet asks: “If something doesn’t make you right/Does it make you feel good?” above a mellow infusion of gentle house scratches and sentimental synth-line patterns. Planet croons: “I know you’re gonna do me wrong/But I got numbers in my telephone”, a verse she later ends with “It’s our love baby/our love, baby”, a line which carries itself to a soft-centered pop groove, through the use of a settled, mid-tempo snare and a hidden layer of synthetic Bongo drum patterns. The track ends on a very hopeful note, as Planet finishes: “Does it make you feel good?/Does it make you feel good?” over a pulsating drum machine riff, followed by a simplistic fade-out. Whilst I don’t think the track is necessarily bad, I couldn’t help but feel rather lukewarm towards this one, which is a shame. I really enjoyed their album because it was filled with invention and humor, with an overly tongue-in-cheek thread which connected each of the tracks together, which made it sound unique and inspiring with it’s unashamedly “dorky” context. In the case of this, I feel it’s following the influence of more mainstream pop acts, rather than doing it’s own thing. As for the positives, I like how it’s an accessible record for casual listeners to enjoy and I think it’s good how the band, lyrically, explore a more serious theme. However, the reason I’m not overly fond of this track is because of this evolution. With a less chaotic style and the removal of witty vocals, it just lacks the energy and rebellious spirit which made them a unique act to follow. While the subtle psychedelia is nice, it doesn’t match the fierce and sharp dance beats which made them stand out. It ultimately sounds like the band are just trying to have a hit, an aesthetic which doesn’t sit right with me. While I feel the 80’s disco style is entertaining to a point, the band lost one of their bigger strengths along the way, leading to a track which is chilled and laidback, but it feels quite dull and not inspired too fully. It’s alright, man – but it’s not my Confidence Man!

Pictured: Janet Planet (Vocals), Sugar Bones (Vocals), Reggie Goodchild (Synths) and Clarence McGuffie (Drums)

You can also read my thoughts on Confidence Man’s Christmas track, “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 a live gig at “The Great Escape” (2017) (Photo Credit: Brighton & Hove news)

Thank you for reading this post! As always, I hope you enjoyed it! – please make sure that you check back with the blog tomorrow to read my in-depth review of the new track from a legendary English Alternative Rock singer-songwriter who recently contributed on the production of the recent independent venue week documentary film: “Long And Winding Road”. along with Phillip Selway, Gaz Coombes, Squid, Kele Okereke, Novelist, Fatboy Slim, Richard Hawley and many more! If you really liked what you just read, why not follow the blog to get notified when each new post is up and like the Facebook page here?: https://www.facebook.com/OneTrackAtATime

Today’s Track: Ross From Friends – “Pale Blue Dot”

February 22, 2020 — Leave a comment

This is like something straight out of a TV sitcom…oh wait! It’s time for your new post!

Pictured: Ross From Friends (Felix Cary Weatherall) in a press photoshoot for his own Facebook artist page (2018)

Good evening to you, I’m Jacob Braybrooke, writing about your daily track on the blog, as it’s my everyday pleasure to do so. If you’re looking to find a new Saturday rave vibe, you’re in the right place, as I’m sharing my feelings of “Pale Blue Dot” by Essex-born British producer Felix Clary Weatherall, who goes under the alias of Ross From Friends. Alas, this is not David Schwimmer’s character from the beloved TV sitcom Friends, it’s the work of Weatherhall, who chose the name because a recording studio he used had a DVD of Friends stuck inside the TV, meaning it was the only form of entertainment that was available to him. “Pale Blue Dot” is a single taken from his debut LP, “Family Portrait”, which he released in November 2018 via the Brainfeeder music label. The official music video for “Pale Blue Dot” is embeded below and it’s put together from archival You’ve Been Framed-style home videos which tell the story of Weatherhall going to spontaneous raves set up by his mum and dad, using his dad’s homemade sound-system, which they took out on a tour bus with them around Europe in the 90’s. Let’s have a listen to “Pale Blue Dot” by watching the video below.

Weatherhall, labelled by The Guardian as “one to watch”, combines hints of lo-fi jungle, Latin disco-pop and Techno house, to create a vibrant electronic dance anthem which feels reminiscent of the abstract melancholy of Totally Enormous Extinct Dinosaurs and the synthesized drum lines of DJ Seinfeld. The track is entirely instrumental, with no lyrics or vocals to be heard. This allows Weatherhall the space to experiment with different hints of several genres, with a shuffling acid strobe which stutters around the pop-oriented layers of the track, married by a neo-psychedelic synth line which takes inspiration from the leftfield disco side of Mount Kimbie. There is a subtle narration in play, as the high-pitched squeals of a disc scratch and the wash of the core bassline fizzle to a tropical kilter. The texture is domineered by a glitched arrangement of violin strings and strategically-placed ambience. It expresses a hint of Weatherhall’s personality, with a cohesive structure that feels like a nostalgic backdrop to the overall nu-disco rhythm. It’s clear the keyboard riffs have been lovingly crafted and the music video adds a more intimate layer to the track than you might expect at first glance, although I don’t find the electronic instrumentation to be hugely interesting, with the track pulling influence from the emotive composition of Caribou and the ever-shifting beats heard in The Knife’s music to entertaining effect, even if it doesn’t go beyond these peers in as much detail as I would have liked. On the positive side, it doesn’t sound too commercial or generic and I think the track’s fairly listenable on repeat due to the hidden complexities underneath the surface. I think he could probably do with a better stage name, but he sounds as solid as a rock!

Pictured: Cover Artwork for “Family Portrait” (Released in July 2018) (via Brainfeeder)

Thank you for reading this post! Make sure you check back tomorrow, as it’s nearly time for another Scuzz Sundays post on the blog – and I’ll be looking at an iconic track from an American heavy metal band whose lead vocalist once appeared on an episode of BBC 2’s TV quiz series, “QI”! If you really liked what you just read, why not follow the blog to get notified when each new post is up and like the Facebook page here?: https://www.facebook.com/OneTrackAtATime

Today’s Track: Michael Stipe – “Drive To The Ocean”

February 11, 2020 — Leave a comment

It’s not the end of the world as we know it… but I feel fine! It’s time for your new post!

Pictured: Cover Artwork for “Drive To The Ocean” (January 4th, 2020) (Single Release) (Self-Released)

I actually met REM at a small pub, you know, and we even got our picture taken! Look, that’s me in the corner! Alas, I kid. I’m Jacob Braybrooke, as usual, writing about your daily track on the blog. Today’s track is “Drive To The Ocean” by Michael Stipe and just in case you didn’t know, he was the lead singer of the iconic rock-folk band REM. This is his second solo single, following the release of “Your Capricious Soul”, his first, in 2019. However, I haven’t heard that track personally. He’s always been known for his distinct voice, which sounds like home for many after all these years. I’ve always thought of it as a little bit of a cross between Morrissey and Kermit The Frog, with Bono from U2 describing it as “extroadinary” and Radiohead’s Thom Yorke citing Stipe as his favourite lyricist of all time. “Drive To The Ocean” was self-released on January 4th, 2020 as a charity single, with all of the proceeds going towards Pathway To Paris, a climate change advocacy group. It isn’t necessarily breaking new ground for Stipe, as he’s always been an open environmentalist, having released his debut single in aid of Extinction Rebellion, an environmental campaign group who partly inspired Stipe’s return to writing music after he stepped away from the limelight to focus on his career in photography. Let’s have a listen to “Drive To The Ocean” below!

A slow-building track capping just above the four-and-a-half minute mark, it begins with a Hendrix-esque rock vocal monologue of driving through the passages of life, as he chimes: “I’ll drive through the mountains/the crumbling west/I’ll sing like the whales/Before man was a pest”, an intricate vocal refrain that has a noticeable hint of spoken-wordiness to it, reminding me of Nick Cave’s recent output. Stipe’s voice has matured, as he grumbles: “We came to explore/Just look where that got us” as he ponders the human effects of climate change and how it’s negatively affected the environment. At this point, the light rock setting takes a darker turn, with a synthesized backdrop flickering to the rhythm of Stipe’s vocal hooks. The chorus goes: “We’ve been here before, Radio transistor/my friend”, before he repeats: “Radio, love me/Radio, the sand/Radio, the ocean/Radio, the end”, over a wailing combination of mournful whines, with an overall western setting which creates an ominous atmosphere. So, is it any good? Well… To be honest, I personally feel it’s a bit weak and a bit poor. That said, I’ve never been an avid fan of REM personally and so it might be that it just isn’t made for me. Starting off with the good, I think the structure of the track is reasonably well produced as it starts off as an instrumental alternative rock track before it takes a more electronic turn. However, I just find the synth-based sound to feel rather lacklustre as it plods along without really kicking up a notch, and I also find the lyricism to be rather bland and lifeless due to it’s repetition, along with the somber and reflective tones feeling like a bit of a retread in this stage of his career. It’s worth 99p, though, as it supports a good, charitable cause.

Pictured: Michael Stipe attending the “Performance Space New York’s Spring Gala” in New York City (May 4th, 2019) (Photo Credit: John Lamparski/Getty Images)

Thank you for reading this post! I can’t believe we’re nearly halfway through the week already – not long to go! I’m very busy at an SRA Training Day tomorrow, but I’ll be back on the blog tomorrow, as always, with a brief look at a new track from a very well-known American Punk band who’ve just released a song which they’ve wrote about a WWE Women’s Wrestler – who was the first WWE Women’s Wrestler to hold both the WWE Raw Women’s Championship and the WWE Smackdown Women’s Championship! If you really liked what you just read, why not follow the blog to get notified when every new daily post is up and why not like the Facebook page here?: https://www.facebook.com/OneTrackAtATime/

Today’s Track: La Roux – “Automatic Driver”

February 7, 2020 — Leave a comment

La Roux’s “Supervision”, after six years, is finally here!… and so is your new blog post!

Pictured: Cover Artwork for “Supervision” (2019)

Like a giddy six year old on Christmas morning, I’m absolutely thrilled to be able to say that one of my all-time favourites, La Roux, finally has a new LP record that you can buy in your local record stores, or stream I guess – in this day and age, right now as I type! “Supervision”, which was released today on Elly Jackson’s own new independent record label Supercolour Records, is the follow-up to my favourite pop album of all-time, “Trouble In Paradise”, released way back in 2014. Mainly known for the mainstream chart hits spawned by her Grammy-winning debut album, “La Roux”, which was released way back in 2009, “Supervision” is the first La Roux record to be completely written and recorded as a solo act for Elly Jackson. She’s been selling it as the culmination of the ongoing flying solo saga and the record she’s always been wanting to make. I, for one, absolutely can’t wait to hear the results later today… When all of my day-to-day jobs are done, since I know that I can relax at that point. In the meantime, you can obtain a sample with the video for “Automatic Driver” below.

It looks like Tiger Woods has a new opponent for the Golfing season! A new wave synth-pop track with a strange resemblance to old country influences, “Automatic Driver” is an electro-pop break-up anthem which lyrically explores the feeling of unrequited goods in a long-term relationship and finding the “auto-pilot” who controls the steering of a relation-ship. That’s a bad pun, but at least I tried. Nonetheless, Jackson croons in her trademark Falsetto voice: “We can fight till it’s light/Doesn’t mend it/Do you still dream we’re alright/and we’ll find it”, over a fizzing keyboard strobe. She croons: “I wanted to manage information/Find the automatic driver”, as a stream of sultry techno flares sneak their way into the track to the melody of Jackson whistling. It’s later followed up by a groove-laden vocal rhyme: “I wanted to make a contribution, baby/I wanted to start a revolution with you”, topped off by a more reflective texture: “After I waited so long to find you/Why did I let myself run and hide from you?”, as Jackson laments the possibility of definitively breaking up with her one true romantic partner. Lyrically, it’s a little bit different to the feisty attitude of lead single “International Women Of Leisure” and the moving-up spirit of “Gullible Fool”, with a slightly light opening compared to the former, matched with the sentimentality of the latter. It still retains the maturity and the old-fashioned pop sound that I’ve loved hearing from the sound of her new tracks, but it’s also very progressive in adding more country-tinged strings to her bows. It’s another terrific release from Jackson which I’ve avoided listening for too much as to control my exposure to the new album before it came out. Now, I’m off to try on my Supervision long sleeve t-shirt and hear the new album, in full, for the very first time. I hope that you give the new record a chance too, as you might end up loving it as much as I shall!

Pictured: “Supervision” Amazon.co.uk Bundle (2020)

If you somehow still haven’t quite got your La Roux fix for today, you can still read my glowing reviews for her other two singles from “Supervision”, “International Woman Of Leisure”here: https://onetrackatatime.home.blog/2019/11/01/todays-track-la-roux-international-woman-of-leisure/ and “Gullible Fool” here: https://onetrackatatime.home.blog/2019/12/06/todays-track-la-roux-gullible-fool/

Pictured: La Roux (Elly Jackson) in a press photoshoot for “Supervision” interviews (February 2020) (Via PR)

Thank you for reading this post! I’ll be back tomorrow and I’ll hopefully have calmed down a little bit then, as I’m going to be writing about the new track from a French pop artist whose second album was named the “Album Of The Year” in 2018 by The Guardian! Don’t forget that it’s also nearly time for another Scuzz Sunday! If you really liked what you just read, why not follow the blog to get notified when every new daily post is up and why not like the Facebook page here?: https://www.facebook.com/OneTrackAtATime/

Today’s Track: Planningtorock – “Beulah Loves Dancing”

February 5, 2020 — 1 Comment

I’ve been Planningtowrite this one for an entire day! It’s time for your new blog post!

Pictured: Cover Artwork for “Beulah Loves Dancing” (October 2018) (Available on Bandcamp.com)

Good afternoon to you, Jacob Braybrooke here with your daily track for the blog! Jam Roston, formerly named Janine Roston, is an English electronic dance producer who currently lives in Berlin, Germany. She rose to fame after launching her own label, Rostron Records, where she released “Have It All”, her debut LP in 2006. Later, she went on the “Sound Of Silver” world tour with LCD Soundsystem in 2007 and released a remix of The Knife’s “Marble House” a year prior. “Beulah Loves Dancing” is a little bit old, but it’s still a recent track in her discography. It’s the lead single from her fourth LP, “Powerhouse”, a self-released album from 2018. I caught the track floated around on the BBC Radio stations for a little while in it’s original release and I’ve remembered it for long enough to feature it on the blog. Give the track a listen below.

I think it’s easy to see why it’s a very memorable little dance anthem, as it has a very original sound and the narrative framework is creative. The lyrics of the track pays tribute to the musically energised youth of Jam’s sister. With a down-tempo mood, she croons: “Back in the 80’s me and my sister were given a personal Walkman”, before referring to her sister, who loved her house music and would make her own mixtapes and cassettes. It became an obsession for her, which is beat-matched by a trippy acid synth line which remains steady, but teases a subtle line of breakbeat melodies. The bridge is led by an eccentric dreamscape vocal: “Beulah loves dancing/Has always loved music, yeah”, the story continues, with Roston taking a trip down memory lane, saying: “And I kid you not, the whole house would be shaking” as Beulah would prance about to her club music upstairs. It seems almost akin to a pop song, with a catchy vocal rhyme that hypnotically paces around the percussive techno melodies. The delivery of the vocals is particularly down-tempo, which keeps the fizzing synth notes to a controlled pace. I think the fade-out at the end is particularly nice and I love the unique composition of the track, with the childhood story being an anecdote which the melodic rhythms are built around. However, to a certain extent, I find the arrangement of the track to get a bit tedious and it doesn’t push it’s sound forward it’s techno-oriented soundscape as much as it’s experimentation suggests. Overall, I think it’s a three-star-out-of-five track as it’s use of storytelling is very intriguing and the fluctuating acid snare line is enjoyable, but the instrumentation feels limited to a point where I feel the track tries to do a bit much for it’s own good. I feel opinions may vary on this one, so I’d love to hear yours!

Pictured: Jam Roston (Planningtorock) in a photoshoot for her official website (2018)

Thank you for reading this post! Beulah Loves Dancing and so do I, so I’ll be dancing my way back on to the blog tomorrow with an in-depth look at a track from The Specials which is a cover version of an old Jamaican track released back in 1967! The cover version by The Specials reached #10 in the UK Singles Chart! If you really liked what you just read, why not follow the blog to get notified when every new daily post is up and why not like the Facebook page here?: https://www.facebook.com/OneTrackAtATime/

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