Post-Industrial

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: 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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New Album Release Fridays: Warmduscher – ‘Twitchin’ In The Kitchen’

April 1, 2022 — Leave a comment
Pictured: Cover Artwork for ‘At The Hotspot’ (Digital LP) (Released on April 1st, 2022) (via Bella Union Records)

Good Morning to you! This is Jacob Braybrooke, and you are tuned into a fairly off-kilter edition of ‘New Album Release Fridays’ as we prepare for yet another daily track on the blog, because it’s always my day-to-day pleasure to write up about a different piece of new music every day! Although you may mistake them for a quirky German pop band at first glance, Warmduscher are actually a London-based Post-Punk band currently signed to Bella Union who are famed for their inside jokes and eccentric live performances, and they have been supported by BBC Radio 6 Music very regularly over the years since their formation in 2014. Warmduscher have collaborated with the likes of Iggy Pop and Kool Keith, and their previous studio album – 2019’s ‘Tainted Lunch’ – received a stunning 9/10 score from The Line Of Best Fit’s review as well as a place on BBC Radio 6 Music’s Albums Of The Year list at #6 in 2019. They have also released a remix EP – 2020’s ‘European Cowboy’ – to coincide with Record Store Day in 2020 featuring contributions from Soulwax, Savage Gary and Decius, and it was strictly limited to just 1000 vinyl copies. Thankfully, their new album is more widely available and it takes the form of their fourth full-length LP, ‘At The Hotspot’, which arrives digitally today before being released on Vinyl on July 1st. Warmduscher have gained so much praise for their originality and humor that they were previously given a shout-out on the blog when I wrote about ‘Disco Peanuts’ in late 2019. The new LP incorporates more influences of Funk and Disco than before, and it was originally going to be produced by Speedy Wunderground’s Dan Carey, who has also produced countless records for artists like La Roux, Sinead O’Brien, Squid and Black Country, New Road in recent years. However, he fell ill with Covid-19 and the Clash-praised group turned to Hot Chip’s Alex Doyle and Joe Goddard instead. It includes the new single ‘Twitchin’ In The Kitchen’ that comes accompanied by a Brixton-shot and Niall Trask-directed music video, whose previous credits include well-received videos for Fat White Family and Working Men’s Club. Let’s give this pre-release cut a spin below.

Warmduscher played a gig at Cambridge’s The Junction venue on March 26th, which was moved to a larger room due to high demand. They will also be hitting the road for dates in Brighton, Bristol, London, Manchester and Sheffield later in the year, some of which have been sold out already, and a few later dates in European locations like Amsterdam are coming up shortly too. Their frontman, known as Clams Jr, notes, “We’re just really psyched to play this whole thing live now, and it’s a whole revamp – new label, new producers, new logo – new everything”, rather matter-of-factly, in Bella Union’s press release about their new record. ‘Twitchin In The Kitchen’ gives you a good idea of what to expect, establishing a raucous mixture of aggressive Funk and harsh, dissonant Synth melodies that builds up to a screamer of a chorus. The instrumentation sounds unapologetically Post-Punk, while the lyrics complement the spacey, disco vibe of the verses because they sound pretty daft and they find the band putting on a show with their wit and sense of distinctively quirky character, as Clams recites lines like “I can’t take it, here I’m sweating/I’m clucking like a chicken” and “Grab a bowl, scrape it clean/Two-four out the door, sniff it off the kitchen floor” that are pretty silly, but they are sung with a low-pitched croon typical of Clams’ cowboy character. The vocals feel energized and heightened for certain, while the looping arrangement feels industrial and psychedelic through it’s combination of Post-Punk and Progressive Funk beats, before building to a child-like sing-along that makes the final refrains sound like a schoolyard chant-a-long of the chorus. A perfect pick-me-up for kitchen disco lovers all around the UK, Warmduscher have created an infectious Alternative Funk anthem for those who love to do a bit of ‘Twitching In The Kitchen’ with no apologies given in their typical quirky fashion. It may drive you Disco Peanuts.

Pictured: Clams Baker Jr, Jack Everett, Quicksand, Mr. Salt Fingers Lovecraft and Little Whiskers (2019) (via PR)

If you’d like to hear more of what’s in store, you can also check out my previous Warmduscher post that was published in the build-up to ‘Tainted Lunch’ back in 2019.

‘Disco Peanuts’ (2019) – https://onetrackatatime.home.blog/2019/11/30/todays-track-warmduscher-disco-peanuts/

Pictured: Cover Artwork for ‘Tainted Lunch’ (LP) (Released on November 1st, 2019) (via The Leaf Label)

That’s all for now! Thank you for ‘Twitching In The Kitchen’ to this tune with me today, and I’ll be back to guide you through another track on the blog tomorrow, where we’ve got new music coming from an Irish Post-Punk band who, although being mentioned a few times due to their frequent collaborations with Dan Carey as their producer, haven’t been covered for a fully-fledged article on the blog until now. Their second album was nominated for Best Rock Album at the 2021 Grammy Awards, and their debut LP, ‘Dogrel’, was named the ‘Album Of The Year’ by BBC Radio 6 Music.

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New Album Release Fridays: Max Cooper – ‘Exotic Contents’

March 25, 2022 — Leave a comment
Pictured: Cover Artwork for ‘Unspoken Words’ (LP/Album) (Released on March 25th, 2022) (via Mesh Records)

Good Morning to you! This is Jacob Braybrooke, and it’s time for you to get invested in yet another daily track on the blog, because it’s always my day-to-day pleasure to write up about a different piece of music every day! Facing stiff competition this week from the likes of Ibibio Sound Machine, Young Prisms and Aldous Harding is Max Cooper, who earns the ‘New Album Release Fridays’ spot on the blog for his sixth studio album – ‘Unspoken Words’ – that he’s released today via Mesh Records. One for fans of ambitious experimental electronic composers like Phillip Glass or Jon Hopkins, Max Cooper is a London-based IDM, Electronica and Techno producer who takes his recordings to an audio-visual level. He’s received positive write-up’s from publications like Clash, and he has released a multitude of highly produced, emotive records for labels like the London-based FIELDS label and German label Traum Schallplatten. He has also remixed an exhausting list of artists including Hot Chip, Hiatus, Nils Frahm, Olafur Arnalds, Guy Andrews, FC Kahuna, Michael Nyman, Jim Wallis, Henry Green and Stephan Bodzin over the years too. I read an article all about ‘Unspoken Words’ on Creative Review recently, and it sounded very interesting. For his latest project, Max Cooper has been exploring the difficulties of communicating with words to articulate your emotions, and the music is being accompanied by the Blu-Ray release of 13 short films – to represent each track on the record and serve as a meta-narrative to inform his work. Cooper will also be performing at Cambridge’s The Junction on April 20th. Check out Xander Steenburge’s video for ‘Exotic Contents’.

Xander Steenburge is a digital specialist who specializes in machine learning, who draws on the writings of 20th century philosopher Ludwig Wittgenstein for the short film of ‘Exotic Contents’. These texts were fed to an AI system, which churned out the hypnotic visuals for the video. Talking about his collaboration with Steenburge, Cooper says, “It’s interesting for me to see the incomprehensible philosophical language interpreted visually like this, full of symbolism and the boundaries between language, our selves, the world, broken down into flowing abstraction. I haven’t really taken it all in yet, I feel like there’s more to discover in it that I can appreciate”, in his own words. Going back to the music itself, ‘Exotic Contents’ may feel like a subtle departure from the more club-oriented roots of his Techno-oriented work because he dips his toes into a collage-style suite of ambient and industrial sounds, where he uses an interpretation of words for an abstract soundscape where a half-time drum and bass format collides with the sharpness of his sound design. The beats scatter and break to an assortment of high-pitched frequencies, to the point where the production feels polished but not massively excessive. It carries the mood of a relief of stress or tension as a whole, and it definitely feels cathartic in the way that squelching breakbeats and the harsher, more dissonant Drums mimic the alleviation of a surging intensity by getting the chaos out of its system, in an ironic figure of speech. My main concern is that the music may not really communicate its ideas and themes clearly without any of the visual elements to help, and it may come across as challenging or tricky to initially grasp if you’re going into the album as a purely audio experience blind. Aside from that little question, it combines the clever pacing of IDM’s traditional production with a more intimate and emotionally driven core in intriguing and expansive ways – and the distance may not feel quite so exotic after all.

Pictured: Max Cooper in a podcast recording session for Sound Motives (2019) (Photo via SoundMotives.net)

That brings us to the end of the page for another day! Thank you for continuing to support the site, and I will be back tomorrow to present my review for the newest comeback single by a Los Angeles-based rock band who are famous for albums like 2006’s ‘Stadium Arcadium’, 2002’s ‘By The Way’ and 1999’s ‘Californiacation’. They have won six Grammy’s and they just received a star on the Hollywood Walk Of Fame.

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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: Whatever The Weather – ’17ºC’

March 7, 2022 — Leave a comment
Pictured: Vinyl Copy of ‘Whatever The Weather’ (LP) (Available from April 8th, 2022) (via Ghostly International)

Good Morning to you! This is Jacob Braybrooke, and the time has arrived for me to get typing up for yet another daily track on the blog, whatever the weather, because it has always been my day-to-day pleasure to write up about a different piece of music every day! An experimental club music producer who majored in Commercial Music at The University Of Westminster, Loraine James took Piano lessons at a young age when she was introduced to the allure of 00’s Alternative Rock bands like Death Cab For Cutie, yet she also discovered a love for Acid Techno, Drill ‘N’ Bass and IDM, citing Squarepusher and Telefon Tel Aviv as some of her heroes within the experimental electronic landscape of the 1990’s. I was delighted to hear about Whatever The Weather, James’ newest solo side project, because I’m already an existing fan of her work, much like BBC radio presenter Tom Ravenscroft – who has the fanboy T-shirt to prove it. ‘Reflection’ was released last year, and it found a place in the top three of my year-end list of the Best Albums Of 2021 – with more publications including Mojo, Uncut, Pop Matters, Beats Per Minute, The Quietus and Pitchfork showering the record with praise too because it was a deep and diverse exploration of the brain of a modern queer black woman from Enfield, South London. James has a true affinity for creating strange and hypnotic grooves, which she builds with rapid percussion and hazy filters that really create an in-depth atmosphere with deliberately disorienting production to neatly complement her themes of mental health and peak-pandemic paranoia from ‘Reflection’ in 2021. She released that album on Hyperdub, and she fits right in with the experimental club heavyweights like Burial, Jessy Lanza and Kevin ‘The Bug’ Martin that have established their own legacies through releasing their work on the forward-thinking London-based label. She’s already set to follow it up – in a way – with ‘Whatever The Weather’ in April, by setting up a new moniker and a new album, with the interesting concept of naming her track titles after different temperatures and making tunes that permeate the moods in which they evoke for her. I cannot wait for it! A strobe warning comes with the music video for ’17°c’ below.

‘Whatever The Weather’ will be released on April 8th via Ghostly International, and James has cited the likes of Deftones’ Chino Moreno and American Football’s Mike Kinsella as her inspirations while pitching her voice for the specialist project. She also collaborated with director Michael Reisinger for the video, and she states that she began working on the creative project while she was finishing up ‘Reflection’ last year. She also teases, “There’s a song in there with a melody I made when I was 13 and finally used it in a song”, for the self-titled LP release on Instagram. She also describes ‘Whatever The Weather’ as a more “ambient-minded project” on her Bandcamp page, and this is a direction that I can understand through listening to the lead single. Themes of Electronica and Industrial are noticeable from the glitchy outset, as we start with a simulating set of Synths that have an atmospheric gloom and an underlying warmth to the textures, but James mixes up the tone when the skittering Bass patterns and the cerebral, yet percussive and rapid-fire Drum rhythms, competes with a gently operatic female vocal sample to lead the track with a potent blend of aggressive Synths and textured percussion sounds. Much like the weather, and how the tone and interchangeability of the weather takes place unpredictably at times in a typical day, James’ sonic combination of crackling Bass and electronic Drums also has a feel of synesthesia, of-sorts, to it when she encapsulates the specific temperature of the track’s title. She makes sure that the structure of her track is full of meticulous micro-adjustments and that her Synths have a wide range of flexibility to them to mimic the weather and the effect on nature that it provokes within a landscape. That’s not to say that her patterns are random, but they are irregular and carefully mapped out as to convey the shifting patterns of rain and the subdued warmth of the hot weather that lies beneath the drizzle, and so the tune contains a lot of the technical production standards that I’ve praised James for producing in the past, in one respect. In another, however, the lack of traditionally recorded vocals from James allows for a larger emphasis on her ambient influences and allows the tone and textures of her electronic instrumentation to evoke a certain mood that she specifies instead of telling a more fixed narrative. The same, but also very different, to the work that I’ve loved hearing from James in recent history – Whatever The Weather is shaping up to be a very successful side project that, while falling into a bit of a niche regarding its reach to audiences, feels free-form and reflects the production strengths of James as an artist while tackling a conceptual risk that more mainstream IDM-based artists may never fully consider. The new album is going to be ‘radical’ – if that is a cool thing that the edgy youth would still say at the Littleport Skate Park near me.

Pictured: Loraine James in an official publicity photoshoot for Pitchfork.com (2020) (Photo Credit: Ekua King)

As I mentioned, James is a highly praised alumni on the blog, and you can check out some more posts that are related to her, if you enjoyed ’17°c’, below:

‘Running Like That’ (feat. Eden Samara) – https://onetrackatatime.home.blog/2021/07/01/todays-track-loraine-james-feat-eden-samara-running-like-that/

‘Don’t You See It?’ (feat. Jonnine) – https://onetrackatatime.home.blog/2020/10/07/todays-track-loraine-james-feat-jonnine-dont-you-see-it/

Pictured: Cover Artwork for ‘Reflection’ (LP/Album) (Released on June 4th, 2021) (via Hyperdub)

That brings us to the end of the post for today! Thank you very much for joining me, and I’ll be back to do it all over again tomorrow with an ‘International Women’s Day’ special just in celebration of the titular day. We’ll be listening to a track from one of my favourite female artists with a track title that is very fitting of the day’s theme. She won the BRIT Award for Best New Artist and she has acted in Netflix’s ‘Top Boy’ series.

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Today’s Track: Eddington Again – ‘Petrify’

February 10, 2022 — Leave a comment
Pictured: Eddington Again in a recent promotional photoshoot for MusicAlternatives.com (2021) (Photo via PR)

Good Morning to you! You’re tuned into One Track At A Time and you are reading the words of Jacob Braybrooke, and I’m here to present yet another daily track to your eardrums on the blog, since it’s always my day-to-day pleasure to write up about a different piece of music every day! One voice that you need to hear right now is the husky vocals of Eddington Again, a multi-instrumentalist and producer who fans of Yves Tumor or Alfa Mist are likely going to get a little kick out of. Currently based in Berlin, but native to Los Angeles, Eddington Again’s music typically dabbles in sound collage elements with Post-Rock and Noise-Rock influences to form a crescendo of Experimental Rock soundscapes which tackle a diversity of personal and intimate themes courageously. Eddington began their musical career as a crucial figure in LA’s queer underground, and they have cited. Bloc Party, SZA, Santigold and Sampha as a handful of their biggest influences. In addition to this, they have performed alongside Flume, Charli XCX and Dam Funk on the live touring circuit. Support has also poured in from i-D Magazine, Mixmag and Boiler Room 4:3 over the years since Eddington first surfaced in 2015 as an emerging artist. One of their strongest singles is ‘Petrify’, which was recently featured on an episode of BBC Radio 6 Music’s ‘The New Music Fix’ curated by Tom Ravenscroft – the son of the late-great BBC Radio 1 host John Peel. It arrives via Friends Of The New – a division of Majestic Casual. Let’s check it out below.

‘Petrify’ was accompanied by a cinematic music video that was directed by fellow LA-native artist 011668, a close friend of Eddington’s back home, and Eddington brings context to the single by stating, “Petrify is a story based on experiences dealing with fragility in lovers and the people closest to me”, in a press note, explaining, “Not having a place to fully be transparent about my past, gifts and heightened awareness leading me to dwell and cultivate my power alone in the dark”, in their own words. Starting off with a dark tone, Eddington pulls us into their haunting flood of emotions with “I don’t wanna petrify you, I just want to tell you my secret” with a half-spoken and half-rapped delivery that is paired to a driving, but ethereal, guitar sample and a percussive drum work-out that is played on a loop continuously, conveying the disorientation that Eddington feels when they expose others to their own fragility. Shuffling hi-hats and a snappy, stuttering Snare pick up the nervous energy of Eddington’s voice that leaps and bounds around a hazy Baritone vocal that floats between reverb-drenched guitar strums to the motion of soulful R&B beats that complement his vocals with a mix of tender emotion and a sense of danger. The abstract visuals of the attached music video are compelling too, but there’s a great mix of straight to-the-point lyrics and a brisk pace to the instrumentation that make the emotive layers feel convincing, with Eddington’s vocals eventually breaking into a lovesick croon as the sonic production becomes more energized and the rhythm becomes a floating mix of underground dance influences and light Hip-Hop intricacies. Overall, ‘Petrify’ represents Experimental Pop at it’s most effective, with the track showcasing the knack for emotive lyrics that Eddington has and a very unique fusion of influences that bound together to create an intimate, gripping single.

Pictured: Eddington Again in a professional photoshoot for his artist page on Simbi.com (2018) (Photo via PR)

Thank you for checking out my latest post on the blog, and please feel free to join me again tomorrow as we take an in-depth look at one of the weekend’s hottest new album releases by sampling a single from it and, this time, we’re listening to a single that was recently promoted by KEXP’s Song Of The Day podcast. The album itself comes from a bold Danish film composer who once headlined the Orange Stage at Roskilde Festival in front of 60,000 people with a set design created by Henrik Vibskov.

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Today’s Track: The Halluci Nation (feat. Chippewa Travellers) – ‘It’s Over’

January 6, 2022 — Leave a comment
Pictured: Tim Hill (Producer/Engineering) and Ehren Thomas (Mixing/Percussion) (2020) (Photo via PR)

Good Morning to you! You are tuned into the text of Jacob Braybrooke, as we ready ourselves for yet another daily track on the blog, since it’s always been my day-to-day pleasure to write up about a different piece of music every day! Music you may have missed from last year headlines the page today, and it comes your way from an Ottawa-based Canadian experimental electronic dance music duo known for blending Ethnotronica, Moombahton, Reggae and the ‘Brostep’ term of post 2000’s Dubstep with elements of First Nations music, particularly known for their vocal chanting and high-speed drumming – and their name is The Halluci Nation. It wasn’t always that way, however, as the band used to be titled A Tribe Called RED, a homage to the legendary Hip-Hop group A Tribe Called Quest. Last year, however, they decided to scrap their old alias in light of “as we move into this next phase of our evolution, we also find it necessary to remember our past”, in their own words. Now a duo comprised of Tim Hill and Ethren Thomas, their name is a phrase borrowed from activist/artist John Trundell to “describe the vast global community of people who remember at their core what it means to be human”, in Trundell’s quote. The group describe their own style of music as a “Stadium Pow-Wow” sound, which is a style of contemporary club music for urban First Nations (A society of Canadian indigenous people who are classified distinctly from the Metis and Inuit groups). My first experience with The Halluci Nation was hearing their stellar third album, ‘We Are The Halluci Nation’, released in 2016. The follow-up, ‘One More Saturday Night’, was self-released last July, which finds the duo collaborating with the likes of Black Bear, The Beat and Northern Voice – some of which they have frequently recorded material with before. The band’s latest album pays tribute to the Electric Pow-Wow gatherings at Ontario’s Babylon nightclub the group ran between 2007 and 2017. Hear more about their change of identity below and skip to 1:05 to hear the new track ‘It’s Over’ below.

“We wanted to pay homage to the Electric Pow Wow and wrap that whole decade of the experience up and close the cycle, and in doing so give direct co-ordinates of where the future was headed. In a nutshell, that’s what this album is about”, says co-founder Ehren “Bear Witness” Thomas in a press release, explaining, “We just wanted to make a party record, as well, one that people could dance to while still having the strong message we are known for”, about the planning and recording behind the record. Going for a more psychedelic take on their older material, Hill and Thomas combine stretched samples of vocal chants performed by Chippewa Travellers with EDM-inflicted Dubstep to explore the memories of the club nights that brought their Canadian community of indigenous people together back in the 2000’s, but the ferocious pace of the brisk Drums also imply a regret concerning the abrupt disbandment of the Babylon nightclub’s scenes. Some fragmented Synth effects are sprinkled throughout the song that evokes the vibrant nostalgia and anti-colonialism surrounding the club nights. Meanwhile, the driving melodies of the instrumentation are there to remind you that it is a positive dance record, as their signature style of moulding Septia-toned vocals from Chippewa Travellers together with visceral drum and bass melodies that set things into motion with a commanding Bassline, while the trickling Trap snares and the some declarative EDM drums that gradually incorporate reverb-drenched Dub and righteous vocal chants into the equation. ‘It’s Over’ suffers from repetition a little, but it does a fantastic job of spreading the message that forms the emotive core of the album that breathes new life into a memory or dream that settler colonialism and its extractive violence have attempted to erase, and ‘It’s Over’ provides a club-heavy but contemplative moment that gives the affirmations and goals of The Halluci Nation a reasonable amount of space to take root, as the band continue to cement themselves as one that needs to exist to serve the social purpose.

Pictured: Cover Artwork for ‘One More Saturday Night’ (Released on July 30th, 2021) (via Self-Released)

I have previously shined a small spotlight on The Halluci Nation before their rebranding, with a detailed post about another track that aims to get more indigenous people represented in the media. Find out more about ‘The OG’ here: https://onetrackatatime.home.blog/2020/01/13/todays-track-a-tribe-called-red-feat-black-bear-the-og/

Pictured: The Halluci Nation performing at the Lost Lake Festival (2017) (Photo Credit: Jeff Kravitz/FilmMagic)

That’s everything I’ve got lined up for you today! I’m still working on my year-end Albums list of 2021 and it is coming soon. In the meantime, thanks for checking out my latest post, and I’ll be back tomorrow to get you re-acquainted with a Grammy-nominated Texas-born Jazz artist and a Houston trio who host the ‘AirKhruang’ radio show on Facebook Live and NTS Radio. They will be releasing a direct sequel to their earlier collaborative EP ‘Texas Sun’ on 18th February through the Dead Oceans label.

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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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Countdown To Christmas 2021: Billy No Mates – ‘Christmas Is For Lovers, Ghosts & Children’

December 21, 2021 — Leave a comment
Pictured: Billy Nomates in a PR shot for her live set at the Farmfestival in Somerset (2020) (via PR/press shoot)

Good Morning to you! You are reading the words of Jacob Braybrooke, and it is time for us to pause for reflection over how others handle financial or familial stress over the festive season with yet another entry of our ‘Countdown To Christmas’ series of daily posts, since it has always been my day-to-day pleasure to write up about a different piece of music every day! Every year, there’s always a few Christmas songs that have been released for charity that remind us to take care of others during the holiday season, often with a heartfelt message or some novelty value to increase its appeal to casual audiences in the mainstream. One of this year’s suspects turns out to be an Alternative Post-Punk artist who I’m already fond of, which is the New Wave-inspired music of Leicestershire-born singer-songwriter Tor Maries, who releases her indie rock music under the aptly titled project of Billy Nomates. I really enjoy the visceral attitude and the fiery, retro personality of her lyrics that set her apart in a somewhat saturated market, and given her experience of being a part of several side projects in the past and striking out as a solo artist with a no-nonsense spirit, could well become more of an icon for her genre in the next ten of fifteen years. If you’re a fan of Sleaford Mods, you would also know Maries from touring with them and collaborating on their track ‘Mork ‘N’ Mindy’ from their latest album ‘Spare Ribs’ released last January, and she performed it with them on national TV during ‘Later… With Jools Holland’ for BBC Two. Currently based in Bristol and now signed to Invada Records, Maries is also known for her self-titled debut album – which BBC Radio 6 Music presenter Amy Lamé chose as her favourite album of 2020 – as well as the follow-up EP of ‘Emergency Telephone’ that took things to a more 80’s-leaning and characteristically aggressive creative direction in March. Her latest single, ‘Christmas Is For Lovers, Ghosts & Children’, has been released to Bandcamp on a pay-what-you-can basis with the sales going directly to Feed The Homeless Bristol. Let’s check it out.

Launched in 2016, Feed The Homeless has been providing extra care and help for people in Bristol who have needed to eat the most for the past five years by supporting them with nutritious meals distributed through their vans to people who are sleeping rough and are less fortunate than ourselves, and this year, they’re hoping to make Christmas more pleasant for those who can’t afford the essentials, yet alone the luxurious food that luckier people will be tucking into this year and the charity are raising money to keep the organisation’s van of ‘Trevor’ on the road to achieve the mission during the cold winter months that are very difficult for people. For Maries, ‘Christmas Is For Lovers, Ghosts and Children’ is another excellent single that is well meaning and socially significant. Despite the rather agonizing title, this is not an Anti-Christmas single and it doesn’t seek to demonize Christmas in any way. Instead, she is simply encouraging you to spare a thought and give a helping hand to people who really suffer during this exuberant time of the year. With hard-hitting lyrics like “What I’m seeing, what I’m hearing/Doesn’t add up to the season, that I’m feeling”, she highlights a disconnect between the extravagant meals and media representation of the Christmas season that advertisements draw us into and the more isolated reality that most experience at the time of yuletide. Moreover, the chorus of “When the people that you love/Go slowly disappearing/and when you gave your heart, yeah they give it back” encourages a simple recognition that Christmas doesn’t feel the same or mean the same to everyone in our modern society. She still presents Christmas as an enjoyable time, but one that also provokes thoughts and reminds us of the invisibility cloak behind the commercialism. All the hallmarks of a decent Billy Nomates track are here, with gently psychedelic Synth riffs and a danceable Drum Machine riff that bounces along the Euphoric bassline. This also feels suitable for the season, however, with some percussive Jingle Bells and soulful handclaps which complement the overarching request of supporting less fortunate souls during the season nicely, while her vocals are more sentimental, although I wouldn’t say totally vulnerable, than the typical Tor Maries track that you may find on one of her albums or EP’s regularly, but they are still tough and firmly rooted in the old-school Punk philosophy of her production. Overall, the customarily direct lyricism and the starkly honest style of the track make it a stand-out of this year’s Holiday-themed releases. I also like that it’s a charity single with some credibility and quality to it, as opposed to the likes of LadBaby whose novelty Sausage Rolls-themed offerings are waring thin on me, as it was only really funny the first time and not the fourth. A kind-hearted and well-produced charity single which is certainly worth a little change from your pocket.

Pictured: Cover Artwork for ‘Emergency Telephone’ (EP) (Released on March 5th, 2021) (via Invada Records UK)

If you’ve just been converted into the Billy Nomates fan club, why not also join the ‘Hippy Elite’ here?: https://onetrackatatime.home.blog/2020/09/08/todays-track-billy-no-mates-hippy-elite/

Pictured: Billy No Mates pictured on the cover art for her self-titled debut album (2020) (via Invada Records UK)

That’s all for now! Don’t forget to spare a thought for those who need it this Christmas, and I’ll be back tomorrow to pitch a dance track as an addition to your disco playlist at your office Christmas party on Friday night before we go all in on the cheese for Christmas with something jazzy on Thursday the 23rd. It comes your way from an Australian Electronic Dance music duo who have just released their first album in seven years on Future Classic and it has reached #6 in the Australian Albums Chart. They have worked with none other than Kylie Minogue – as well as including vocalists like Channel Tres, Bishop Nehru, Owl Eyes and Reggie Watts on their music.

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