Nu-Disco

Today’s Track: Hi Grade Hi-Fi (feat. Kes D’ Jordan) – “Turn Up The Heat”

January 23, 2020 — Leave a comment

We should turn down the fog and turn up the heat in the UK! Time for your new post!

  • Pictured: Hi-Grade Hi-Fi performing a live set at the Soundsystem Culture Festival (2019) (Credit: Stalingrad O’ Neill)

Jacob Braybrooke here! Here’s an up-tempo Reggae jive that I played on my most recent radio show, which comes courtesy of underground Birmingham dub-plate group High Grade Hi-Fi, a band who describe their sound as a “Reggae Sound System like no other”, as they cohesively incorporate the different elements across old-school Dub-plate production techniques with the raw sound of Jamaican carnival and the beat-driven influences of Ska. I have previously covered “Warrior, a more politically infused hip-hop track, on the blog. Have a listen to “Turn Up The Heat” below, a more breezy and feel-good ska track, which also features the vocal talents of Kes D’ Jordan.

“Turn Up The Heat” is, comparatively, very different to “Warrior” – with a lighter emphasis on the hip-hop and a heavier focus on the influences of Disco and a warmer, more light-hearted tone. Jordan quips: “Turn up the heat/rock to the beat/living in a moment”, over the top of a golden line of sun-dripped synth pad beats and a vintage, dub-tinged kick drum beat. Jordan sings: “got to be ready/for anything that comes your way” as the underlying Ska tone welcomes a new mix of beach-glazed guitar riffs and honeyed two-step bass guitar melodies. Jordan puts the cherry on top of the cake, as: “you’ve been frozen in time” and “free the shackles from your regimented life/it’s a sterile component” ushers in a chorus of trumpets and more jazz-oriented instrumentation which kicks the pacing up to another notch, resulting in a more kinetic and slightly old-school rocksteady-tinged, effect of sequencing. The dub-plate melodies are very rhythmic and the lyrics have a very upbeat and positive message of leaving your worries behind and enjoying yourself, which is very relevant in today’s digitally-connected society. The lyrics encourage you to, for example, enjoy a swift jive to a track at a gig rather than spend the whole 3-4 minutes filming clips of it for your social media accounts. Turn up your stereo to this!

  • Pictured: Still image from the music video for “Doggies Dem (feat. Juggernaut”)” (November 2019)

For the purposes of making a comparison between “Turn Up The Heat” and their brilliant track “Warrior”, why not read my thoughts on “Warrior” down below?: https://onetrackatatime.home.blog/2019/11/13/todays-track-hi-grade-hi-fi-feat-richie-culture-warrior/

  • Pictured: Behind-the-scenes image of High Grade Hi-Fi filming the “Warrior” music video (June 2019)

Thank you for reading this post! As usual, I’ll be back tomorrow with a look at a track, released in support of their third LP released in 2016, from an Australian electronic pop duo who are comprised between one member of Pnau and one member of The Sleepy Jackson! 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: North Downs – “Nightlife Blues”

January 17, 2020 — Leave a comment

Meanwhile, I’m from Down the East Anglia! Good evening, it’s time for your new post!

  • Pictured: Cover Artwork for “Dad’s Old Tapes” (EP Release) (December 5th, 2019) (Dana Dama Records)

Jacob Braybrooke here! I’m wishing you a lovely Friday and a great… erm… January! Yeah it’s very cold and windy outside, isn’t it? In any case, here’s a brand new track for you to sink your teeth into! “Nightlife Blues” comes from the very mysterious British electronic dance trio North Downs, who I first came across through their collaboration on Maribou State’s “Kingdom” for the latter’s most recent album, “Kingdoms In Colour”. However, the trio of North Downs, who haven’t published much information at all about their members or backstories, have just produced their own release, a four-track EP titled “Dad’s Old Tapes”. An experimental little record which spotlights a knack for creative sounds, the single “Nightlife Blues” has been championed by BBC Radio 6Music presenter Mary Anne Hobbs, of whom I really look up to. This track can currently be found on the A-list of the John Peel-inspired station.

Although it remains a rock record, “Nightlife Blues” dabbles through a lot of different electronic production work and vibrant synthesized pop melodies, which adds discordant effects to the vocal harmonies and a slight ambience, adding a Walkman tape recorder dynamic to the overall sound of the track. “Nighlife Blues” has a very euphonious guitar riff, which creates the feeling of an avant-garde punk record being edited to a contemporary pop format, which reminds me of world-inspired artists like Khruangbin, The Comet Is Coming and Maritoba. The vocals chime in: “Born in the day/born to survive/faking away/chasing the night”, over a collage of synthetic bass riffs and thunderous jazz-fusion influences. This establishes a singular groove of indie rock elements, combined with small elements of funk and nu-disco. A psychedelic pop vibe is also created through the somber chord progression and the lightly tapping drum beat. This also reminds me a little bit of The Avalanches, due to the light funk beat and the repetitive vocal chorus. However, the Plunderphonics influences aren’t as virtuosic and meticulous. It’s a well-curated package of different genres which sounds primed for the daytime or early evening slots at festivals in the summer – with an overall quality of an old-school indie dance-rock outfit like LCD Soundsystem mixed with the makeshift ambience of Bonobo or Caribou. Overall, I think it’s a decent and original mix of different genres, with a soulful quality that seems ripe for evolution and development on full-length LP releases. Warm and solid!

  • Pictured: Cover Artwork for “Nightlife Blues” (Single Release) (December 5th, 2019)

Thank you for reading this post! I’ll be back tomorrow, as per usual, with a look at yet another new track – this time, it’s a collaboration between a DJ who is the first artist to be nominated as both a musician and producer for his album, alongside a Northampton-based hip-hop artist whose debut LP was nominated for last year’s Mercury Prize award! 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: Floating Points – “Anasickmodular”

January 8, 2020 — Leave a comment

Is it science, magic or great music? a combination of all three? Time for a new post!

  • Pictured: Sam Shepherd in a photoshoot for an interview on the RedBull.com website (January 2018)

Jacob Braybrooke here! It’s not Rocket Science! Well, for this guy, it’s Neuroscience! Seriously, he has a degree in it! I’ve been listening quite a bit to Floating Points recently, a DJ of all things acid techno whose real name is Sam Shepherd, the co-founder of the Eglo Records label. His recent album, “Crush”, was released last November on the Ninja Tune label. It’s an experimental piece of music which dynamically mixes a range of improvisational sounds and electronic ambient works recorded around the world. It’s January, so there isn’t going to be much out until the early Spring heats up. That gives you the perfect excuse for you to go and check it out!

“Anasickmodular” is one of the singles from the album, which has made the A-list of BBC Radio 6Music for several weeks. It was named after the team who did the visual projections, the fact that he was feeling poorly on the day and how he bought a modular out of the box to record it! For me, “Anasickmodular” draws a heavy comparison to the likes of Aphex Twin and Squarepusher. Since the genre of this single is of a similar tone and style, it reminds me of several Warp Records releases from around the mid-90’s, which partially contributes as to why I like it so much. The mixing and production of the track was created during Shepherd’s live improvised set at Dekmantel Festival in 2017, with other engineering stages completed during a tour date in Sydney. For me, this gives the track it’s freeform and carefree style, which echoes throughout the strange break-beat melodies and the ethereal, percussive garage beats. The texture, as a result, sounds very warm and euphoric, due to a hypnotic trance transition which feels like the music equivalent to a child’s drawing. A twitching, off-kilter drum pattern harkens back to Warp’s late-90’s IDM exports. The midway point is a real standout, as the assortment of ambient sounds swell up to form a synth tendril which forms the effect of an orchestral crescendo. It feels like Shepherd has definitely put his club sensibilities to the test and really pushed himself, as an artist, to deliver this track. He adds a layer of scientific IDM to make it essential!

  • Pictured: Cover Artwork for “Crush” (October 2019)

Thank you for reading this post! I’ll be back tomorrow, as usual, with a look at a new track from an Irish singer-songwriter and music producer who is known for being part of the Irish Trip Hop duo Moloko, who were responsible for the chart hits “The Time Is Now”, “Sing It Back” and “Familiar Feeling”! 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: Hot Chip – “Positive”

January 4, 2020 — Leave a comment

You could say that I may just have a “Hot Chip” on my shoulder! Saturday rave vibes!

  • Pictured: Alexis Taylor (Lead Vocals), Joe Goddard (Synths/Keyboard), Owen Clarke (Lead Guitar), Al Doyle (Bass Guitar, Backing Vocals, Percussion), and Felix Martin (Drum Machine/Programming)

A highly established Alternative Synthpop group on the UK indie circuit for just-about two decades now, as they formed in 2000, Hot Chip have been enthralling audiences on UK indie club dancefloors and club-oriented music festival environments with classic hits like 2007’s “Ready For The Floor” and 2008’s “Over and Over” since their breakthrough second LP record, “The Warning” was released in 2006. In June 2019, the group returned from a 4-year hiatus with “A Bath Full Of Ecstasy”, a commercially successful and well-received LP which housed indie resurgences such as “Hungry Child” and “Melody Of Love”, singles primed to liven up club environments with a technicolor paint of coat on the UK and international dance-rock circuits. A new single, “Positive”, has just been released and it’s been receiving significant airplay on both BBC Radio 6Music and Radio X, as well as being on the FIFA 20 soundtrack. I’m Jacob Braybrooke and today’s track on One Track At A Time is “Positive” by Hot Chip!

“Positive” has an immediate opening of Nu-disco channeling, with large measures of drum machine jolts and razor synth-rock snares. It’s never afraid to show the group’s trademark image of quirky energy and infectious new-wave disco, as Alexis Taylor proceeds to deliver a political and ecological message on the effects of Homelessness, as the track incorporates light hip-hop elements into it’s pop-heavy production. Taylor sings: “You’re washed up and you’re hated / You’ve lied, you’re berated”, before delivering a chorus that plays on the themes of euphoria and childhood: “We get together sometimes/Talk about how we used to get together sometimes/Of love/How we used to laugh together sometimes/Of something positive”, with a Pet Shop Boys-inspired talk-sing style of dialogue. What tune-age! Taylor goes for a vibe where the track is heartbreaking and quiet, with the soulful riffs on loneliness and isolation being disguised by 90’s electronic pop beats and care-free use of drum machine programming. The result is a track that goes for Dancefloor Bliss and more or less succeeds, if it wasn’t for the ideas of homelessness running on a little bit of an empty gas tank near the end of the track. It’s not specifically stepping the band out of their comfort zone, but it’s a solid and engrossing reminder of how the band play to their strengths and wrap up a sound that is compulsively listenable and weirdly poignant, more so than it might appear at first! My opinion is “Positive”…

  • Pictured: Hot Chip performing a live headline set at Mayfield Derby in Mannheim, Germany (2019)

Thank you for reading this post! Make sure that you check back with the blog tomorrow, as it will be time for my first Scuzz Sunday blog post of the New 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: Warmduscher – “Disco Peanuts”

November 30, 2019 — Leave a comment

You may call this Scent O’ Mental, but when I listen to this record, I can hear the crazy!

Pictured: Cover Artwork for “Tainted Lunch” (2019)

Clocking in at just over 31 minutes long, “Tainted Lunch”, the new album by London post-punk experimental rockers Warmduscher is a razor-sharp gut punch of fast pacing, all-out mayhem and full-out insanity. With suprising guest collaborations from the likes of Iggy Pop and Kool Keith, as well as the two leading singles, “Midnight Dipper” and “Disco Peanuts” receiving strong airplay on BBC Radio 6Music, Warmduscher seem to have found their slick groove on an album that feels tonally similar to Gorillaz’ “Humanz” (2017), while using the strengths of Dan Carey (Kate Tempest, Black Midi, Fontaines D.C.) to harken back to the days of 60’s blues and alternative soul. It has been described by 6Music as “2019’s only album that matters”, which gives it very high praise as we go into the time of next year where each big music publication fills in their best-of-year compilations and lists to make a cheap buck out of the New Year season. It’s pessimistic, I know, but somebody had to say it!

“Disco Peanuts” is a single which is… zany, to say the least! It’s been released with a music video, in stop-motion animation format, it’s a “tale of lust and intrigue” set in “the saucily-let, subterranean dancehalls of Kiev”, according to the band itself. That explains the almost-explicit sex noises that you can hear at the very end of the track, then! The track is utterly bonkers in style and composition, but you know what… I wouldn’t have it any other way! It’s not going to reach a very wide audience at all, but I think the fun and the enjoyment comes from the brutally harsh atmosphere, which is created by the sound of this twisted club anthem. The overall sound is reminiscent of an erratic cabaret where bright lights are shining and psychedelic trips are intense. However, it never feels makeshift or quickly pushed together. It’s a suprisingly complex track, where the main shifting rhythm is created by an acidic, lurid drum machine, with the single track leaping all over the genres of indie rock, disco-rock, noise-rock and even a hint of psychedelic jazz in a few instances. A light trip-hop vibe is created through the lead vocals on the chorus, as Clams Baker Jr creates a mind-altering effect with: “disco peanuts,laser queen/Some kind of loneliness/The only person on the scene/That knows how to do it best”, a hook that reflects the self-aware and tongue-in-cheek references to the album’s themes of sufficiency and desire. It also has a subtle taste of Jungle and New-Wave, with the relentless synths and deliberately electro-laden vocals towards the closing moments of the track, which is an erotic sequence of robotic visuals and elaborate noises of sexual actions over a rapid-fire layer of guitar licks and nightmarish synths. It creates a strobe-lighting effect that sells the chaotic idea of insanity on the track. It’s almost like an R-rated Gorillaz – a track that feels grounded in a haze, which reaches out to the listener and sucks them into a fictional existence that is grim and dark, but cheeky and nostalgic.

Pictured: Clams Baker Jr, Lightnin’ Jack Everett, Quicksand, Mr. Salt Fingers Lovecraft and Little Whiskers

Thank you for reading this post! Make sure you check back tomorrow, as it’s almost time for another Scuzz Sunday post, where I’ll be looking back at an emo, punk or rock track which really takes me back to my youth! 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: Girl Ray – “Girl”

November 27, 2019 — 1 Comment

The girls of North London are finally back in town! It’s time for your Wednesday post!

  • Pictured: Poppy Franklin (Guitar, Vocals), Iris McConnell (Drums) and Sophie Moss (Bass Guitar)

Girl Ray, made up of Poppy Franklin (vocals, guitar), Iris McConnell (drums) and Sophie Moss (bass guitar), are an alternative pop group formed in their home of North London in 2015. They later released “Earl Grey”, their debut LP record, back in August 2017. The follow-up, “Girl”, was released on 22nd November via the Moshi Moshi label. No, not Moshi Monsters! The trio love to specialise in small-scale psychedelic punk, with the girls releasing their first track, “Ghostly”, on Soundcloud while studying for their A-levels. The girls have cited the likes of Cate Le Bon and Rundgren as influences for their new record, a sophomore lo-fi critical darling that gives you a sugary sweet texture with electro-synth hooks and ambitious songwriting. “Girl”, a staple of the daytime BBC Radio 6Music playlist, is the title track of the new LP record.

Naming themselves as a pun of low-key Avant-garde icon Man Ray, Girl Ray have since been headstrong in their pursuit of experimental pop vibes and a sonic juxtaposition between cool and receptively geeky. It’s a sentiment that can be found on “Girl”, a single which is full of glossy electronic production work and endearingly imperfect percussion. Lyrically, this is a wistful indie-pop metaphor of adolescent romance and subtle youtful angst. Franklin recites: “I’ve got a lot of love to give/You’ve got a lot of love to give/And we can have fun, play games/Or you can just hold my hand” and “Course of true love never did run smooth/I wanna move right up next to you/Wear my t-shirt by the pool/I love the way you work that room so cool”, establishing an indebted tone of playfulness and a sensual tone. It reminds me of Haim and The Beach Boys, but Girl Ray take a creative boldness to up the synth work, as Franklin croons: “Girl won’t you be my…” and conveying a rhythmic harmony with: “You’re my high school sweetheart prom-queen babe/And I’m the nerdy boy that the jocks all hate”, a playful R&B-like jive that feels instantly recognizable for a young audience. The lyrics are each delivered under the sounds of funk-laden guitars, 1980’s keyboard melodies and groove-ridden, new-wave percussion. Although the overall style is more polished than some of the band’s prior efforts, I feel this track doesn’t quite find it’s own identity and the cracks of the group still finding their feet as a new artist are still present. This is because, although the song isn’t afraid to pull electronic influences from a couple of different genres, I feel the lyrical content doesn’t quite reach into a higher gear, lacking a cohesive quality that blends the different styles into one package more neatly. I think it’s down to their work on the new record with Ash Workman, a producer who’s been credited to the likes of Christine & The Queens, Metronomy and Stealing Sheep. I get the sense that he’s not quite the right collaborator for Girl Ray, as the production work seems a little bit makeshift and they sound much like these other acts. However, “Girl” is still an overall enjoyable track that has a very charming pastiche style and an intoxicating combination of nostalgia and beauty. The group are very talented, but I think they are capable of a little better.

  • Pictured: Girl Ray in a promotional photoshoot for “Earl Grey” (November 2015)

Thank you very much for reading this post! I’ll be back tomorrow, as usual, with an in-depth look at one of the tracks from Beck’s new LP, “Hyperspace”, which was released on Friday! It has not been released as a single though! 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: Prince & The Revolution – “Raspberry Beret”

November 26, 2019 — Leave a comment

“If you don’t own your masters, your masters will own you”! That’s my favourite quote from the master of re-invigoration himself! It’s time for your Tuesday blog post!

  • Pictured: Collage Artwork of Prince’s different re-incarnations throughout his career (Credit: Pinterest.com)

The aforementioned quote is a true statement of Prince’s rebellious attitude and his pure dedication to actively creating good music which rebels against the established materialism of the chart-pop industry. He changed the face of music forever and there was a sense of pure horror in the air as he passed away from us on April 21, 2016. “Raspberry Beret” is a track from his 1985 album, “Around The World In A Day”, which he produced with The Revolution. The album saw Prince experiment with a more zany style, such as elements of psychedelic rock and opulent soul ballads. It was famously released with very little publicity, as requested by Prince, with none of the singles being released until after a month since the album’s release. It was still a massive commercial success, eventually reaching the #1 spot on many charts around the world (but it took more than a day) and eventually going double platinum, with audiences responding to the overall sound being more creative than previous record.

The track instantly starts with a “1-2-3-4!” chant before the funky synthpop beats work their way around the melodic vocal hook of the track. The track immediately engages the listener before, as with the rest of the album, it combines several different elements of multiple genres with solid precision. The track incorporates pop, punk, disco, neo-psychedelia and new wave, as it creates a world-infused, “international” effect by focusing on acoustic instrumentation, such as the violin string-based arrangement, as well as a Cello and a Harmonica being used in extended versions of the track. It tells a lyrical story of a teenage wash-up having a first-love encounter and a sexual experience with a girl wearing the titular “Raspberry Beret” hat. It’s simple and more in the pop vein than other, less-radio friendly, tracks from the album. However, it’s effect is still fairly original and effective. He starts: “I was working part-time in a five-and-dime/my boss was Mr. McGee”, which has a Bryan Adams-esque pop hook, and he continues to tell the story until the end, stating: “She wore a raspberry beret/the kind you find in a second hand store”, simply ending the chorus with: “I think I love her”. It’s a very colourful and vibrant track, with a sense of very sweet romanticism. It’s a good track, but the context behind it definiely brings it a step forward. After 1984’s “Purple Rain”, fans were expecting a sound that was heavier in a rock context and maybe a little bit more sexualised, but instead, he wrote material that was delicate and light-hearted, as he cleverly played around with his fans’ stereotypes and in a sense, their loyalty to following him as an artist. The risk paid off dividends, further asserting Prince as one of the all-time greats. We miss him!

  • Pictured: Cover Artwork for “Around The World In A Day” (April 1985)

Thank you very much for reading this post! I’ll be back tomorrow, as usual, with an in-depth look at an explosive techno-pop track from a new London indie group who once produced a cover version of a Carole king song by Elizabeth Price, although not explicitly admitting to doing so! 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: Gorillaz – “On Melancholy Hill”

November 22, 2019 — 1 Comment

A rock band with an “animated” lineup! Literally… It’s time for your Friday blog post!

  • Pictured: Promotional Artwork for “Plastic Beach” (2010)

Gorillaz certainly have a very animated sense of character to them. The most famous virtual rock band in the world, with Blur’s Damon Albarn at the helm in the real world, have made quite a name for themselves in the music industry ever since the 00’s, successfully translating an experimental style of rock to the mass audiences, always gaining high popularity with each LP release due to the significant lore and fantasy-building created by James Hewlett, the designer and VFX artist of the cartoon compadres. I still remember the hype around their return from a 7-year hiatus with “Humanz” in spring 2017, with the album selling out in days and gaining record-breaking pre-order sales, of which I bought the physical CD copy to share with my friends. They’re not really my all-time favourites in the wide scheme of things, but it’s still a musical project that I admire and I get very excited for with each subsequent release. “On Melancholy Hill” is a track that I remember hearing for the first time on “The Singles Collection 2001-2011” compilation CD, but it’s the third single released from 2010’s “Plastic Beach”, which is the third official full-length LP credited to Gorillaz. This is a lesser-known track from the band, which reached #78 on the UK Singles Chart upon it’s original release. It was later ranked as #152 on Pitchfork’s top 200 songs of the decade so far and #5 on BBC’s list of the “Best British Songs Of 2010”.

“On Melancholy Hill”, according to creator Damon Albarn, exists as the one “genuine pop moment” on the 2010 record. It starts off immediately, with no fading, with a glowing electro-synth line that fuzzes above a set of twinkling keyboard patterns, before Albarn sings his woes beneath a Falsetto: “Up on Melancholy Hill, there’s a plastic tree/Are you here with me/Just looking out on the day of another dream/Where you can get what you want, but you can’t get me/So let’s set out to sea (love)/’Cause you are my medicine when you’re close to me” as it becomes somewhat of Gorillaz’ one true love ballad. There is a dream-like quality to the romantic themes of the lyrics, which is established through downtempo electronic instrumentation that sounds miles apart from the hip-hop influences found on 2005’s “Demon Days” or the experimental art-rock sound on the 2001 self-titled debut LP. However, it’s also dominated by a somber, more mindful, texture which conveys the comfort of a physical touch, but also the distance of a crush that’s destined not to work out. It ties into the concepts and themes of the album, as it feels reminiscent of travelling to an idyllic location outside of a harsh pre-Brexit (yes, I just said it!) political climate, which works in this audible concept as a beach with dream-like qualities. The sound is boosted by a four-step pitch and a chordal string-based arrangement that twinkles and glistens at every turn. Overall, I think it’s obviously not necessarily Gorillaz’ most uptempo tune, but I really enjoy listening to how the tone flips between light and dark in different sections of the track. The track is maddening, but it’s also saddening.

  • Pictured: 2-D (Vocals, Keyboard), Murdoc (Bass, Drums), Noodle (Guitar) and Russell Hobbs (Percussion)

Thank you for reading this post! I’ll be back tomorrow, as usual, with an in-depth look at the brand new track from a Bisexual Australian singer-songwriter often likened to Lana Del Rey and Morrissey, who relocated to London from Sydney and released his debut LP record, with each song being written from an ambiguous, gender-neutral viewpoint, in early 2016! 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 – “International Woman Of Leisure”

November 1, 2019 — 2 Comments

It’s been a long wait for 5 years but she’s finally back! It’s time for a Funky Friday post!

Yesterday, for me, was a very glorious day! It was a day that I had described to my colleagues as “the musical event of the decade”, according to myself, of course! That’s because it was finally the day which English Synthpop artist, La Roux, also known as Elly Jackson, released her first new material since July 2014’s “Trouble In Paradise”, a massively underrated piece of art led by a groovy, tropical vibe, with a sense of melancholy with each lyric. It remains, to this day, as my single favourite LP record of all-time. But, to be, honest, I wasn’t too interested in just hearing a song. Now that her former co-producer Ben Langmaid is not involved in the production process of the project at all, I was just overexcited to find out how she would completely reinvent herself this time around. Her third LP record, “Supervision” will be releasing on 7th February 2020 via Elly’s new independent record label – Supercolour Records!

After weeks of teasing with a clever futuristic secret-agent marketing angle, Jackson finally released the music video for her first new single at 7.30pm last night, titled “International Woman Of Leisure”. It’s very different to “In For The Kill” and “Bulletproof”, two big mainstream hits, but still excellent, which, rightly so, provided Jackson with her first breakthrough on a commercial level. The sound of “I.W.O.L” sits proudly between the funk-soul influences on “Trouble In Paradise”, but also a modern take on an 80’s new wave sound. The vocals are sassy, but they’re very catchy, with a narrative based on moving forwards after a break-up and embracing a new, vibrant life as an individual who doesn’t need a partner. “Oh, you want me to go on, that’s my pleasure” and “No, I don’t ever want to see your face again” are full of Jackson’s trademark style on her very first few tracks, but instead, they’re delivered with an effortless psychedelic groove behind them and a talent for harkening back to classic 60’s & 70’s synthwave riffs, while having a real sense of freshness, longevity and imagination to it. It took me a few listens to adapt to her new and original, although somewhat borrowed, style from her previous record, but it’s an incredibly rewarding banger that definitely has a market for it out there. Can we also talk about the last 48 seconds of the track? OH MY GOODNESS!!!!! The track takes a completely synth-based turn, with an ambient electro-pop section, which is a blissful channeling of disco and early 90’s synthpop. The video is also brilliant and very well-directed, with a good theme, complete with the aesthetics and the outfits. Overall, this is an absolutely triumphant return from La Roux and it’s already one of my favourite singles of the entire year so far. I LOVE IT and I don’t think I’ve ever been more excited for a new album. She no longer feels underrated and there’s no shame in being a fanboy over it.

  • Pictured: Cover Artwork for “Supervision” (February 7, 2020)

Thank you very much for reading this post! It’s almost time for another weekly themed Scuzz Sundays blog post, but first, I”ll be back tomorrow with an in-depth look at a lost 80’s track from a Scottish alternative disco duo who were known for their flamboyant clothing, sporting bows and polka-dots. 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/  https://www.facebook.com/OneTrackAtATime/

Today’s Track: Tom Misch (feat. Poppy Ajudha) – “Disco Yes!”

October 21, 2019 — Leave a comment

I shouldn’t think many of you should be going out to Disco on a Monday, but whatever floats your boat! Yes, it’s a brand new week and it’s time for your new post…

  • Pictured: Tom Misch in a photoshoot for a “Hypebeast” interview (2018)

Tom Misch is an English DJ, singer, songwriter and producer from London. I first heard about his work through a few guest collaborations with HONNE, an English R&B duo, also from London, who I’ve been a massive fan of ever since they started producing records 5-6 years ago. Tom Misch has also collaborated with Michael Kiwanuka on “Money”, a track released earlier in the year, and on a few tracks with Loyle Carner, an English hip-hop artist. Misch started self-producing records which he would post to his very own Soundcloud account in 2012, before he was signed by Beyond The Groove, a record label based in London which he also set up by himself, before Misch finally released his official debut LP record, “Geography” in April 2018. “Disco Yes” is a track from the record, which features Poppy Ajudha, an English Jazz singer, on vocals.

“Disco Yes” is a very soulful electronic pop track, with guitar riffs that sound reminiscent of disco and funk sounds from the 1960’s and 70’s, but littered by funky guitar grooves and electro-swing bass licks. The vocals are a little monotone in their delivery, which expands upon the super-smooth and witty, almost a little bit flirtatious, sense of lyricism. The vocals from Ajudha are rugged and distinct, but it adds to the experience of the track not feeling overproduced or soaked in production work that feels too clean or safe. The inclusion of a female voice adds texture and sensuality to the funk sound. The outro is a little bit long and the track would have achieved a similar effect if it was to be cut a minute or so shorter, but I’m fond of the variation of styles in the track and how many different genres are gelled together to create an up-to-date disco jam that feels evocative in it’s moods and experiments with various styles, even if a shorter duration might have sweetened up the final deal.

  • Pictured: Cover Artwork For “Geography” (2018)
  • Pictured: Poppy Ajudha in a photoshoot for “Wonderland” magazine (2018)

Thank you for reading this post! I’ll be back tomorrow, as promised, with a track from a new indie rock band who are signed to Bella Union Records and released their debut LP record over the summer, with the record being self-produced by the band in their hometown of Brighton! If you really liked what you just read, why not follow the blog to get notified when every daily new post is up and like the Facebook page here?: https://www.facebook.com/OneTrackAtATime/